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What It Really Takes to Become a Creative Director
May 13, 2025 Brand Leadership Career Growth Creativity Leadership Management Strategy Teamwork
Featuring
Adam Morgan, VP of Brand, Twilio

Adam Morgan is an executive brand and creative leader named to AdWeek’s “Creative 100” — the top inspiring creative minds in marketing, media, and culture in the world. He’s the author of the book, Sorry Spock, Emotions Drive Business, which proves the value of creativity and design with hard science. He’s a keynote speaker at conferences and events on the topics of creative leadership and brand vision.

Currently, Adam is the VP of Brand at Twilio and previously led creative teams at Splunk and Adobe. You can learn more about his book and speaking topics at adamWmorgan.com.

Landing the creative director role: Real advice that works.

The job market is competitive, and landing a creative director role takes more than a strong portfolio.

To kick off season 6 of Real Creative Leadership, host Adam Morgan breaks down what recruiters are looking for right now — the must-have experiences, the questions to ask yourself, and what to avoid to present yourself as the ideal candidate for the next big leap in your career. Tune in now to learn more.

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REAL CREATIVE LEADERSHIP

Season: 6

Episode: 1

Episode Title: What It Really Takes to Become a Creative Director — with Adam Morgan, VP of Brand, Twilio

Guest Title:
Adam Morgan, VP of Brand, Twilio

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Adam Morgan
Welcome back to Real Creative Leadership, and welcome to season six of the show. That’s a huge milestone. It’s exciting that we’ve made it six years doing this. And first of all, I just wanna shout out a huge thank you to all of you who are listening and tuning in for sticking with me through all these six years

I think when it started, it was such a needed thing to have this watering hole for creative leaders to learn how to become a better creative leader and for those who are aspiring to become one, you know, kind of learning the steps along the way. So thank you for joining us. It’s been an awesome journey and it’s not anywhere near being finished. We are excited about this upcoming season. And we have such an amazing lineup for this season. We have awesome creative leaders from Nike, Spotify, ServiceNow, Prudential, and so many more.

Today we are gonna talk about the origins of the show, or at least the origins of its purpose — helping creatives find their path to creative leadership. But what I’m gonna talk about specifically today is really around how do you get that job? How do you actually do it? How do you become a creative leader or a creative director more specifically? Because a lot has changed in the market. It’s very different than it was six years ago, or even through the great resignation or, you know, any of those other ups and downs.

Like right now, it’s a very interesting market. There are a lot of realities that many people are facing that it’s tough to get a job, especially as a creative director. One of the biggest factors is global competition. I’ll tell you right now, in the last few places, whether it was at Adobe or Splunk or now at Twilio, whenever I’m hiring for a creative director position or hiring for a creative leader, it’s pretty brutal.

I mean, the world has changed. I’m fully remote. My last two jobs have been fully remote. I know that there are many of you that are going into companies or part-time or hybrid or whatever that may be, but the reality is there’s a lot of competition. So when you get a job listing that goes live out there, there are hundreds and hundreds of people vying for that same job from all around the world in all different areas and all different levels of talent and experience.

And so understanding that process, I can help you get an inside track into landing that key job that you want, and understanding how you structure your resume and how you speak to the topic, or how you let us know a little bit more about your special secret sauce is really, really critical.

Now I wanna, you know, acknowledge that everyone is different and there’s not one path to becoming a credit predictor, especially at a large brand or agency. There are so many paths to get there, but there are a lot of key milestones and requirements that just you have to hit in order to stand out for those hiring managers and land that job.

So I’m super excited. Thank you so much for joining us and let’s dig into today’s show.

I know I talked about all these different things we’re gonna discuss in today’s episode, but I wanna start with the red flags. Not starting with the advice or what you need to do, but really just like what not to do. So first of all, here’s what I want you to think about when you’re going for a job, when you’re applying, when you are seeking out employment at a specific company.

The first thing I want you to think about is not you and yourself and your own journey, but start to think about, “Who is the hiring manager? Who are the execs? Who are the people that are hiring this creative director position?” Because it’s not about your perspective, it’s all about their perspective. What are they looking for? And I’m just gonna give you an insight, having been in that role and seen it from the inside, that’s really what this is all about. This episode is just giving you a good understanding and not just from big brands, but also agencies like it.

A lot of similarities happen for both sides, but I really want you to understand that when they’re going for this role and they’re hiring a new creative director, they want someone who can guide the company, someone who can come up with a big creative vision, lead the work, avoid problems, bring people together. There are so many things that they’re looking for, and it is all about that experience, real experience, and they’re trying their best to pull back all the layers, look through your resume, look through your LinkedIn profile, and have an interview with you and really understand, are you the real deal? Because if you’re not, you know, they’re gonna move on to the next person. And it’s really, really tricky to know what a person is like. So what we’re gonna do is we’re gonna walk through a lot of the red flags that as I’m looking through hundreds and hundreds of resumes — what are the things that I quickly see and be like, “Eh, pass and skip.”

So what are some of these red flags? Number one, no self-proclaimed solo freelance titles. I know this sounds a little harsh, and maybe that’s what your job was. Maybe you were an entrepreneur and you started your own company. Great. But I’m just telling you, when I look through resumes, I’m looking for real titles at real companies that people have had those experiences. So if I see someone who’s, like, directly outta college and suddenly they’re a creative director in their first role, I don’t buy it. There are certain titles that are hard to get and that take a lot of effort and they mean something. And so that’s what we’re trying to assess and look at is like, has this person had real experience? Have they gone through the refiners fire? Have they understood all of the different aspects of being a creative director?

So if you have a CD title and it’s just your own company that, you know, maybe you’re still like your other normal title is, like, a mid-level designer or a mid-level writer, and then on your freelance company, you give yourself the creative director title, that does not mean you’re a creative director. All right? So that’s a red flag. Just be aware that you may be a specialist in it, but it doesn’t mean that you’ve gotten all the qualifications.

Number two red flag: be sure you have experience at relevant companies or perhaps universities. And what do I mean by this? Let’s say if you were going for a job at a very famous, you know, tier-one agency when they wanna look for experience of like, can this person do the job that we’re asking them to do? They wanna see, “Have you had experience at other agencies?” Maybe an agency I’ve heard of, or at least an agency that is, you know, international or an agency that has, is big enough that we know you’ve had real experience, because that experience has everything to do with managing teams and having a vision and pitching big clients and all of that stuff. So keep in mind that you have relevant experience.

Same thing at a company — if I were to hire someone at Twilio, I would wanna see whether they had good experience at good agencies or good in-house roles. And when they were in those roles, what did they do? What type of things were they, you know, showing on the resume that they did awesome at, right? So it’s relevant experience. Again, if I go and look and someone says, “Hey, I graduated from this university and then I just stayed on and I worked in that department and now I’m ready to make the jump to, you know, some other big role at a big company,” that’s not relevant experience.

So, as you are crafting your resume, again, this is may be harsh saying, “There’s probably a little — very small chance that you’d make a jump from an unknown, little, teeny small agency to a big agency or from a very small company to a large company.” It’s very hard, ‘cause as I’m looking through it all, if I have, you know,  thirty resumes of people who have had relative experience at the competitors of the job that I’m looking for, or at other companies in the same space, like, that’s gonna go a lot further.

So what do you do about it? Maybe your next step is to go to the next step up in between your dream job, right? Maybe if you’re at doing your own solo freelance thing and you wanna be a to a big agency, you probably need to go to a mid-level agency, get a good job there, and then show that you’ve got the chops to jump up to the next one, right? There are certainly ways you can get a good portfolio through and make a connection and get a job.

I’m not saying that — but I’m just saying as I’m looking and I know nothing about you, I’m gonna be looking for relevant experience at something that relates to the job that I’m looking for. Hopefully that helps.

Number three, a great portfolio is table stakes in the creative world, the portfolio is important, absolutely.  And how many portfolios I’ve built over my career, I can’t even tell you. So a killer portfolio will land you a great job. But think about, again, if you’re putting yourself in the mindset of the hiring manager or executives at that company, a great portfolio could get you a senior creative role in those companies, right?

If I’m looking for a creative leader, I assume they have to have a great portfolio. So don’t think that the portfolio is the end all. It’s table stakes. You have to have it, but you also have to show real experience doing other things beyond just your work. For example, when they’re looking for a leader, it’s more than the portfolio. I’m also gonna be looking at how do you create a big vision? How are you showing that you’ve led teams? How are you showing experience that you’ve, you know, tried big pitches or big ideas, or you’re good at selling? Like, there’s so many other things that are important in getting that job that I just want you to not fixate that the portfolio is everything. And the reason why I say that is because as I’ve looked through hundreds and hundreds of resumes people have just sent up. Like, they didn’t even take the time to craft the resume very well. They were just like trying to do a “mic drop” and be like, “Check out this badass portfolio and then I’m gonna get the job. Like, it’s not gonna happen.

So, I’m gonna talk about this now and I might talk about it a little bit more later, but if you want more background and insight on what creative leadership or executives or others are looking for hiring managers when they’re looking for a creative leader, go back and watch the show from Michelle Stuh on. She’s an executive recruiter and she really digs deep into what are the things that people are wanting when they’re going to hire a creative director. It’s more than that portfolio. They’re looking for someone who can show good leadership qualities. Do they understand the category? Do they understand the product? Do they — can they speak business? Can they speak marketing? Can they bring people across the aisle to come together to make something great? Are they great at selling? Are they great at understanding all of these other important leadership skills? So I just wanna let you know, like, a red flag is if you just show up and think it’s all about your portfolio, then you’re done. We’re gonna talk more about this later, but don’t just think that that’s the end all.

All right, the next reg flag: showing experience over time. So there are a lot of people, again, as I was saying, you may wanna short circuit this and maybe you’re great at that. And I would say there are ways to short circuit it, if you have connections or you know someone or you’ve got an insight. But if you’re in the slush pile of hundreds of resumes, if I look at that resume and I see, “Okay, they were just outta school, they had their first job at something, blah, blah, blah, and then all of a sudden, now they’re suddenly a creative director. Then they’re wanting to be like the executive creative director.” I’ll be like, “Well hold the phone here for a minute — where’s that learning phase?” Because showing experience over time is really critical. We’re gonna look at a bunch of real people’s career paths here in a minute. I’m gonna show you how you see that and what I’d be looking for if I look in a resume.

But it’s really a matter of just like, it’s not jumping too quick. ‘Cause sometimes I’ve seen people jump too quick and then they burn out or they’re in over their head and it’s really hard. Like, having that step-by-step approach and showing it, even if it is contracted, that’s fine, but you really just need to show that you got really, really good at X, and then you got really, really good at Y, and then you got really, really good at Z, and then now you’re ready to become a CD.

Because being a CD isn’t just being an expert in one thing. Like, you have to show that experience over time.

All right, and finally, the thing is the craft matters. Even with your portfolio and all of your craft, it does matter — that portfolio matters. But don’t just show up with a TV reel full of TV spots and expect that you’re gonna be the next big creative director. I say this because as I’ve gone through so many portfolios and resumes, I just see a whole bunch of people, especially an agency that’ll just, like, show their TV reel. And while that’s awesome, that tells me, “Great, maybe you were on the team that got to do all the big shoots and you had all the big ideas and you have a lot of broadcast experience, great.” But that’s not everything. When you’re going for a job as a creative director, do you understand and can you guide, you know, social media campaigns? Can you guide big strategic creative strategy campaigns? Do you understand product? Do you understand the nuances of the competition? All of those things matter.

And I’ve seen a good example of someone who did a nice cover letter lately where they did enough research about the company and went back and watched some of their big keynote presentations at their latest event and really distilled down a lot of the stuff that’s being talked about there, and use that as part of their, their cover letter to show that it’s not just about a bunch of flashy TV spots, but they really understand the depth of that company and that they understand the creative and where it can go.

All of these things are important, so again, these are just some of the red flags that if I’m quickly sitting down and looking at hundreds of resumes. And I see some of these things and you’re not expressing that you’re off the list and it happens really fast. So just reflect for a minute. Don’t be like, “Oh, Adam doesn’t know anything.” That’s totally fine. I probably don’t, but I just want you to reflect and understand. Again, in this section, I just want you to say, I — put the mindset of the hiring person in mind. What are they truly looking for, and how can you communicate that through your resume or your portfolio? And then not get hung up on fake titles or fake work or fake this. Like, just try and craft it in the right way. And we’ll get back to crafting your story at the end of this, but just keep those red flags in mind.

All right, let’s move on to the next section. So we’ve talked about the red flags and the things you shouldn’t do. How about we focus on the things that you can do and you should do and you should try and communicate as you’re trying to get that next job as a creative director. So let’s talk about the core competencies and qualifications you need to excel in the job — specific skills that I look for or that you should be trying to express as you’re going for the next creative director job. And this is independent of whatever industry you’re in. So, first of all, proven creative experience. You need to be more than just a management title. And what I mean by proven creative experiences is that there are a lot of times that someone comes in and says, “Hey, I was a project manager and I managed creatives. Therefore I am completely, you know, the perfect candidate for creative director.” And I get a lot of these kind of resumes that they have kind of tangential experience. But I think when you’re looking, when I’m looking for creative director, it’s one thing to manage and all the operations and processes, that’s an important part of it. And I think when you’re in one of those tangential roles, like you are really, really good at that. So if that’s your job, you have to try a little bit harder to prove the creative experience because when we want someone as a creative director, they have to show that they have good design writing, video content.

All of those skill sets, because whether it’s an agency or it’s a brand, the leader is gonna have to be able to give guidance on all of that stuff and show vision for it. And it’s really, really hard to do that unless you have relative experience — like you’ve either been in the trenches doing it or you’ve, you know, somehow you have to express that. So if it’s not explicit as like you were a designer or a writer moving up the chain and you were more of like an operations person, you need to somehow prove out that you have creative experience

Next up, career growth and versatility. So you need to show progression in those roles, not just relevant experience, but how did you show that you progressed in those roles so that it wasn’t just, “Hey, I dabbled in this for like six months and then I dabbled in that for six months and now I’m an expert.” I wanna see that you have really refined the craft in one of those steps, whether it’s writing or design or video or something. Then you’ve crossed over and you’ve really shown some versatility and some growth in another skillset. You need to show like that depth matters. So it’s not just, “Hey, I managed eyes around it.” How are you proving that out? So again, just whether you have to write in details of, like, “Hey, in this role I learned blah, blah, blah, blah, blah.” Inside your resume or your LinkedIn, somehow you have to show that growth.

Next strategic and business skills acumen. It’s not just about making great work. I talked about this before. It’s about understanding brand strategy and marketing strategy and business strategy. You have to be able to “speak khaki,” as we say on the show a lot. You have to be able to cross sell ideas and influence decision makers and communicate a vision, and one that drives buy-in across all levels. Like, it’s a lot of work, but you really need to understand and be strategic. It’s not just a matter of being a creative rockstar. You have to show you understand business because at this level, they’re not looking just for, you know, a creative rock star — they’re looking for a creative director.

You can always go out and hire a mercenary who can come up with some great ideas. That’s not what they want. They want someone who can guide it and they don’t have to worry about it, and they know that it’s handled, but that this person understands how the business makes money and can therefore use creative in the right way.

Next, leadership that inspires creative directors aren’t just about directing. It’s not just about, “Hey, you do this, you do this, and try this.” It’s about motivating people. It’s inspiring people. You have to show that you’ve got those skills and it — maybe that’s part of the dialogue when you’re having an interview, but you want to just show them your passion, that you care and that you can inspire people. Maybe tell stories of things that you’ve done in the past. How do you collaborate with different people? How do you show your ability to lead up and down and cross and sideways, and how you show that you have good creative instincts? All of those things matter in your leadership skills.

So how do you show that you can do that sometimes? I would say this, like, in LinkedIn — so many times we want to make that thing super, super short and small and pithy, and you’ll like say, “Oh, I was the creative lead over at this company and blah, blah, blah.” Don’t do that — don’t do that, because that’s just a little like off headed, like, “I’m too cool for school.” Comment, dig in and show bullets of what you’re doing. Remember, LinkedIn is a search engine. It’s not the same as sending over a resume that’s just a one pager. You are trying to get all this stuff highlighted in a search engine. Talk about your leadership, talk about your skills, talk about those things and fill it out. That’s all about making — helping us know you better, ’cause — so as, again, if I’m scrolling through hundreds and hundreds of resumes, how do I get to know you? Use keywords and things that help me understand this person has those skills.

Next, you need to be authentic and approachable and a personality goes a long way. So being a great creative isn’t enough. I know in the eighties and the nineties there was all about not being an asshole and being a nice person. But you have to express that. And I think companies, it’s not only — that’s, like, table stakes now. Like we won’t tolerate turds, right? We want people who are nice, who are good to work with, who are kind, who are inspiring us. Those are important things. Like, I remember one job, the CEO would say, “We hire good people who happen to be talented. Not that we hire talented people and hope that they’re good.” Right? The order mattered and it was really important to them. So as you’re being together, you’re gonna like, these are people you’re gonna live with more than your extended family. They want to know, can they communicate well? Are they respectful, are they nice, are they engaging? So that’s more of them likely gonna come across in the interview. So when you are doing interviews, be nice. It’ll go a long way.

Next, vision and innovation. A creative director doesn’t just execute, they define what’s next. And this is sometimes hard for some to understand, like, how do you show that you’re a visionary leader? You can start with good examples. I’ve given stories of like, “Hey, when I was at this company, I wrote this, you know, twelve-page document about where the agency could go and where there are opportunities and where there are gaps.” And looked at it like all from a very strategic point of view. And then where I saw the opportunity. You could do that, just like in that cover letter of my friend, right? Where he went and looked at this company, listened to their keynotes, and kind of did an assessment and then added in. And here’s where I think there’s an opportunity for growth.

I know that’s happened on my last two jobs. One of the first things that has happened, the CMO will sit me down and have our first little chat and they want to know, “Where are you gonna take us, Adam, if you’re the brand leader, the creative leader, whatever it is. What’s your vision?” And it’s so critical. So you can’t just be thinking about, “We’re gonna go out and, you know, get this big TV spot. It’s gonna be amazing.” Like, that’s not the answer. They’ll see very quickly through that. You’re just gonna have, like a production lens or a, you know, a digital or a social lens. You need to show, like, beyond just the work. That’s what I’m not talking about. Vision of like, what cool stuff we’re gonna make next. It’s where are you gonna take the company? How does creativity play a role in the decision making of the company? Where are you gonna take us? What’s your vision? That’s really, really important.

And then finally, last thing, tangible impact and results. So it doesn’t matter how much work you’ve led, how many teams you led —  if it didn’t work, it doesn’t matter, right? So you could have the coolest portfolio in the world. You could have worked on the coolest brands in the world. But you somehow they wanna see, did it, did it work? Is there impact? What are the results? And I know you may be like, “Oh, that’s for the marketers.” No, when you’re a creative leader, you have to show that, you have to show how it hits the bottom line. So it doesn’t matter your title, your experience. If you can’t say, “Here’s what I did and here’s what it resulted in there.” I know that sounds like it’s more of a marketer thing to put on your resume. And a lot of people do that I see on their LinkedIn. But at this level, you’ve gotta have that. You can’t just be like a shoot-from-the-hip and let, let’s just, you know, go wild west. You need to show what metrics you were working towards, what were your goals and how you got there. Because the language, you’re speaking with executives and those higher up and they’re looking for a creative leader who can speak their language. You’ve gotta be able to show that to them.

Next I wanna look at some of the different career paths and I wanna show you some examples of people who have actually been really successful and what they’ve done over their careers. So one by one, I’m just gonna show you a handful of different people I’ve interviewed or talked to and show you their creative path and some of the milestones they’ve learned, but also some of these things I’ve talked about of how you would see that just by seeing the different jobs they’ve had over their career.

So let’s look at three different examples of just people’s career paths. And just by looking at the career path, you can see how some of these elements come into play. The first person I wanna talk about is Xanthe Wells, and this was when she was senior director of Global ECD at Google. She’s moved on since then, but I just wanna point out, just kind of her path. First of all, she started out in production. She was not in, you know, in an agency or a writer or a designer. She started as a production assistant And then from there she went to a well-known agency as an art director, another well-known agency as a senior art director. And finally you can see that there was, and there was time.

So it’s not like it all happened within, you know, it was like, Pixar 1999. Ground zero is 2000. TWA is 2001. Like, it didn’t happen super fast. There was growth, right? So I can see she went to relevant companies that helped her get up to the next one, which helped her get to the job at Pitch. And then, then she went to a nonprofit and all of that helped show that she was great at it in diversity of all these different types of things. And finally, you know, global Creative Director at Nest and finally they were acquired by Google and then they moved her up into a senior director role. So a lot of good growth over that. And it may just look, like, picture perfect, but I just think it’s interesting to point out that she didn’t just start in an agency. She didn’t start necessarily in-house. She started in a totally different, relevant field.

All right, next one. Let’s look at Jim Real. So, Jim Real has been working at Disney for a while, but let’s look at his background. He started out at a smaller agency as a copywriter, and then another agency as a copywriter, and then another agency as a copywriter, and another agency as a copywriter. That is good. It’s not bad to show that it was going through the same steps and still the same role. That tells me he’s got a lot of experience in a lot of different roles, a lot of different agencies, but still crafting, crafting, crafting, and then made that jump to a social creative director — that that’s absolutely natural to make that jump. And then there was a long time that he was in that role, I mean, almost, what is that? Almost a decade plus three years, and then decided to go freelance for a while and then came back. And got a job as a creative director at Disney. Totally awesome, right? Like, he hit kind of that level and you can see when he was trying to make it. He did the associate creative director step to finally get to a CD.

And then, even though I see a freelance on there, you know, it’s like, again, I talked about red flags about don’t make up your own thing. He just had it as freelance. It wasn’t like some other weird title, but then finally made it in and then he jumped back to college and became an instructor and then jumped back in at Disney again. So a lot of interesting, um, things to learn from that.

And the last one I wanna show you is Chris Do, who’s awesome. And we’ve had him on the show a couple times and he has a completely different career path. And I wanna point this out because it’s not always that linear one. The first two you were like, “Oh, nice, try it.” Like, those were linear paths up through agency. Yeah. And that’s okay. Like, you wanna show that you were at real brands or real agencies and showing progress. But here in Chris’s it’s a little different. He did start out at an agency as an art director. Then he went and started his own thing, which was totally fine. And then went through this other path of all of these, like through different records and freelance and professors, or being a professor at one college and then another art center, and then things, you know, another UX designer. And finally, eventually, you know, the one we know him for at the future as he finally started that decades later.

So even though when he starts his own thing, he doesn’t care about getting the CD title. That doesn’t matter, but along the way he just showed interesting growth of up and down and jumping from one industry to another. And that’s not bad either. That shows you have experience in a lot of different ways and a lot of different paths, and it’s really, really interesting to be seen. Like, we see him as an expert ’cause it’s not like he was just doing the one thing and then stuck in a dead end for a long time.

Anyhow, hopefully that helps. We could go through many, many others, but I think the point is just that we know that everyone has a different career path, and that’s totally fine. But what I would do is this, so as we’re, as we’re kind of summarizing and ending this episode, the biggest thing you can do right now is go do an assessment of your own career. And I know, I know we all think that we’re the, like the, the lead actor, the lead, you know, hero in our story and that we are the best at everything. And I could be saying all these things and you’re like, “Check, check, check. Yep, Adam. I totally do all those things. I’m ready.” Totally fine, but I want you to be honest and really think through what are your gaps? What are you doing to work on that? How can you better communicate that? If you really are the, you know, the main character, totally fine, but you gotta communicate it. ‘Cause we can’t mind read and we don’t know that we’re the lead in our story and we’re trying to find, you know, the diamond in the rough. So help yourself be found by expressing, you know, all these tips and tricks that I’ve talked about.

So in summary, here’s some things that are really important. Because only you can change your future. Only you can decide how you’re gonna craft your LinkedIn, your resume, your portfolio. Here’s some things I want you to consider.

Alright, number one, show that you have real experience as a creative person. Real experience doing the craft, learning the ropes, moving through that path.

Number two, show progression. Make sure it doesn’t look like it was just a flash in the pan. You jumped and skip too far ahead or didn’t do certain things. That progression shows that you’re learning and growing and getting better.

Number three, make sure that you have experience at relevant companies for the job you’re seeking. If it’s not something that looks like a stepping stone to it or a peer, it’s not relevant. So find the right companies for the job you’re looking for, and if you don’t have it, find it or do it, you know, rewrite your story in a different way.

Number four, can you express expertise in an interview? Practice and be ready to talk about all those things that show that you’re a real creative leader.

Number five, do you have good examples of good work? So you do have to have a portfolio. You have to back up your experience. You can’t just be all talk and not be able to back it up.

And then finally, take a real assessment. Look at your gaps, understand what you’re good at and what you’re not good at, and start to work on those gaps. Or at least just show progression in those gaps, ’cause sometimes you don’t have to be perfect, you just have to show you understand it. I hope this helps.

Remember, it’s not just about having that on your resume right now, it’s consistent growth. You can get there, you can get that job. It’s just a matter of really focusing on it, trying, working at it. Rewriting like — you can rewrite your story however you want. And I wanna remind you that in your LinkedIn, it’s not about the job you have, it’s about the job you want.

So write the story that leads to the right job that you want. Thanks for listening. I hope you had a good time. I wish you all the best of luck, you know, if you’re in the middle of the job search and you feel like you’re one in 900, it’s okay. Hopefully you’ve got some good tips and tricks from this session that you can help yourself stand out a little bit more. Good luck. We’ll see you later.