UGC IRL!

Sorry for the acronym soup. But I recently had the pleasure of working directly with influencers face to face at Sydney's famous Crypto Castle. A mansion in the Eastern Suburbs that looks like a billionaires bunker. The infinity pool, winding staircase, and floor-to-ceiling windows revealing ocean views made for a perfect location to film some content.

Here's what I learned working with influencers. Firstly, drop them into an inspiring clifftop castle and they’ll churn out content like their lives depend on it. Which, to be fair, they kind of do. But weirdly it works. And works well. Canva and Meta brought together six influencers with six Canva creatives with the challenge to create thirty Reels in five hours.

Normally, UGC is a slow and painful process. You brief, they shoot, you give feedback, they tweak, you go back and forth until eventually landing on something worth posting. This time? None of that shit. Sitting side by side, we created in real time. No bottlenecks, no soul-crushing email chains. Thirty Reels in five hours. Done. From a business point of view, that’s gold: faster content means faster testing, faster results, faster learnings. You just need an expensive luxury playground that doubles as a high-volume content engine.

And it wasn’t just flashy content. Our in-house team also walked away with fresh hooks for performance marketing - including Canva’s first-ever underwater shoot. A one day sprint gave us not only thirty UGC Reels, but a stockpile of assets we can slice and dice across paid channels.

The other win? Community. Spending a full day filming, eating, and creating with people like @lisadotdesign, @perksofpatt, @gunclediaries, @lukeaustinofficial, @project.catherine and @carolynjuan turned them from talent into true collaborators. They left genuinely buzzing about Canva, posting the love on their own channels. That's the sort of buzz you can’t fake.

I got paired with Luke Austin, a comedian, VO artist and professional chaos merchant. He's the sort of man who takes one look at an oversized inflatable yellow duck and won’t rest until it’s in frame. We worked well together. I like to think of myself as pretty funny, so we bounced off each other and got the most out of the concepts. It was refreshing. His brain is wired differently - always pushing stranger and funnier directions. My job was to wrangle that into something vaguely strategic for Canva. I also had a skit based idea on hold for a while, waiting for the right moment to unleash it and this was it. Luke was the right man to break his printers heart and outsource his printing needs to Canva. Keep an eye out on his socials for that.

What I realised during the process: is that marketers and influencers aren’t all that different. They chase clout. I chase creativity. They speak in trends. I speak in brand. Strip it back and we’re both just addicts trying to get someone, anyone, to give a shit about what we make. And honestly? That’s the point. This wasn’t just a fun day out in a mansion. It was proof that UGC can be faster, better and stickier all at once.

Word Nerd meets Word Tonic

A few weeks ago, I had the honour of running a masterclass for Word Tonic, a Gen Z copywriting community bursting with creative energy and the kind of humour that made me feel ancient. Hearing a “Thank you, Daddy” sound effect on loop while presenting was a first for me, but honestly, it was an amazing experience.

There’s something uniquely vulnerable about standing in front of a group — even virtually — and saying, “Here’s what I know. Here’s what I’ve learned the hard way. And here’s what I've still got to figure out.”

The Word Tonic crew was welcoming, open, and refreshingly honest. We connected, laughed, and shared stories about the chaotic joys of freelancing, the weirdness of client feedback, and the age-old debate: How much spec work should your portfolio actually include? (answer still isn't clear) 

The session was a mix of whacky stories from agency life, lessons learned in-house, tips for finding your voice (and not losing it in rounds of feedback), and some honest truths I wish I’d heard earlier in my career—like: it’s okay not to have all the answers. And yes, impostor syndrome isn't ideal, but it’s also so widespread that it’s basically normal.

What surprised me most was how generous and sharp the Word Tonic community is. They asked smart questions, shared their own experiences, and cheered each other on in the chat. It felt less like a masterclass and more like a big, creative group therapy session, in the best possible way.

So if you ever get the chance to run a session like this, take it. Even if you’re nervous. Especially if you’re nervous. Because somewhere in that room, someone needs to hear what only you can say, in a way that only you can say it.

Or if you're a Gen Z copywriter looking for a warm, supportive, laugh-out-loud community, look no further than Word Tonic. They haven't paid me to endorse them! I genuinely believe in what they're doing. 

Thinking of going in-house? Here’s what I've learned.

Making the jump from an agency or freelance role to an in-house creative position can feel like a big decision. I know this firsthand because I almost didn’t take the leap myself.

When I was first offered an in-house freelance role with Canva, I was reluctant. I thought that moving 'client-side,' so to speak, wouldn't be the right move for me creatively. I worried it'd box me in, limit the variety of work, and potentially slow down my career growth.

But the offer of a daily free lunch, on top of a decent day rate, was enough to get me in the door. Three weeks later, I was offered a permanent position. And almost five years on, I’ve come to appreciate the unique rewards and challenges of working in-house. So if you're thinking of making the move in-house, I’ve outlined some top-level pros and cons to help you decide if it’s right for you.

The Pros

You can fully immerse yourself in the brand
Working in-house allows you to live and breathe the brand every day (the photo above speaks for itself). You become part of its DNA, which helps you craft creative that truly reflects its voice and values. This immersion gives you a nuanced understanding of what makes the brand tick. Instead of juggling multiple clients, you focus entirely on refining and championing your brand's vision, making your work feel more cohesive and strategic.

A wider range of collaboration
In-house roles often involve working with other departments, such as product, sales, and specialized marketing teams. You get to know your teammates’ strengths and can play to those. This overall business exposure gives you a holistic view and a chance to see how your work makes a direct impact.

Building expertise and muscle memory
Focusing solely on one brand helps you develop a deep understanding of its tone, style, and audience. Writing and designing become second nature, saving you time and effort. After months of working with the same brand, you instinctively know how to tweak work to align perfectly with its identity - no need to keep referencing brand guidelines or style guides.

Greater ownership of projects
In-house roles allow you to see projects through from start to finish. From the initial strategy to the final launch, you’re involved every step of the way. There might also be a chance to come up with a creative platform that you can continue to build on over the years. This level of ownership is incredibly satisfying, giving you a unique sense of accomplishment that’s often harder to find in agency life. 

Shaping the brand long-term
Unlike one-off projects, in-house work lets you contribute to the brand’s evolution over time. Your efforts leave a lasting impact, shaping how the brand grows and is perceived in the market. You also have more freedom to suggest ideas or try new channels, giving you the chance to influence the overall direction.

Better work/life balance
In-house roles often come with a steadier pace and perks that make day-to-day work more enjoyable. You’ll rarely find yourself working late nights or weekends. Plus, tech companies like Canva often offer free meals, shares in the business, incredible company events like launch parties, and travel opportunities - all of which add excitement to your routine. It's worth digging into what a company offers in terms of perks. Long gone are my days of waiting for crusty leftover sandwiches to emerge from a meeting room. 

The Cons

Limited variety of work
In-house roles focus on one product or service, which can limit your opportunities to flex different creative muscles. If you’re used to jumping between industries or clients, the narrower scope of work might feel less stimulating. You may also notice a slower output of portfolio-worthy work, as in-house projects tend to have longer cycles.

Slower evolution
Strategic shifts and bold creative ideas often take longer to implement in-house, as changes require alignment across teams and layers of approval. While this slower pace ensures consistency, it can feel less agile than agency work.

Staying on top of industry trends is harder
In-house roles tend to focus heavily on one industry, which can make it challenging to stay connected with broader creative trends. In an agency, you’re exposed to what your network and competitors are producing on an almost daily basis. In-house, you need to be much more proactive to keep up with what's happening in the wider creative world. 

Feedback lacks variety
Your main source of feedback will come from internal teams, which may limit the diversity of perspectives you’re exposed to. While cross-functional teams provide valuable insights, they don’t always challenge you creatively in the same way external clients or agency peers might.

Is the Switch Right for You?

Ultimately, the decision depends on what you want from your career. If you thrive on variety, fast-paced environments, and diverse feedback, an agency or freelance role might suit you better. But if you’re ready to dig deep, hone your expertise, and leave a lasting mark on one brand, an in-house role can be incredibly fulfilling.

For me, the switch has been transformative. I’ve grown in ways I never expected, gaining insight into the inner workings of the 'client’s' world and building creative relationships that have spanned years instead of weeks. If you’re considering making the leap, my advice is to give it a shot - you might just find it’s the move your career needs.

Books! Read some more.

It’s been a fair few years since my previous post on industry book recommendations, so in addition to my original list, here’s my honest opinion on some books I’ve read recently. 

The Insanity of Advertising.

I’m a sucker for anything relating to the golden age of advertising, but this memoir by Fred S. Goldberg offers very few lessons or reflections from his experiences. It’s a shame, seeing as he rubbed elbows with the greats and had a successful career working for Y&R, Chiat/Day, and Goldberg Moser O'Neill. Despite this, the narrative primarily consists of tedious, egotistic anecdotes. Save yourself some time and give this a miss. 

That Will Never Work.

We all love an origin story. And you might be surprised at how Netflix came to be. Starting as a DVD rental business, it faced many hurdles when it launched and almost went under several times. Co-founder and author Marc Randolph captures start-up life and turns it into a corporate thriller. RIP Blockbuster! Decent read!

The Choice Factory.

Writer Richard Shotton investigates how psychological shortcuts shape human behaviour and how advertisers can use these biases to their advantage. He cleverly observes a typical day of decision-making, from trivial choices to significant ones, splitting out 25 different biases. This is essential reading for anyone in marketing and communications. I particularly love how British the examples are.

Sorry Spock Emotions Drive Business.

Adobe’s Executive Creative Director, Adam Morgan, takes a single question, ‘Do creative ideas work better?’ and delves deep into neuroscience and the world of advertising to answer it once and for all. This is a must-read for creative professionals, especially decision-makers who always play it ‘safe’. Adam shows how emotional ideas create more compelling experiences and reveals why creativity is less risky for business. Let’s stop with the mundane and be more creative. 

No Rules Rules.

Another book on Netflix. This one, written by the co-founder and CEO Reed Hastings, delves into their company culture. Working at a tech company myself, I was particularly interested in seeing how others function. Netflix is a bit unorthodox - employees have unlimited holiday days and are actively encouraged to interview elsewhere. It’s an interesting read if you’re in the tech sector. If not, getting through it may be a bit of a slog.

Blah! Blah! Blah!

In this book, creative director and artist Dave Buonaguidi shares his brutally honest thoughts and advice. A rambling romp through his diverse career, from small London advertising agencies to top multinationals. It’s littered with ridiculous rants and aggressive advice, such as ‘work your bollocks off’ and ‘everything gets better when you’re having fun’. Part memoir, part business book, this will inspire anyone to work hard and make brilliant work. 

Alchemy.

‘To be brilliant, you have to be irrational’. This mind-boggling book by Ogilvy legend Rory Sutherland will open your mind to approaching creative problems differently. He successfully proves that conventional logic and wisdom fail more than what people think through real-life examples. Tapping into unconscious human behaviour - he shines a light on some random things that make sense, like why countdown boards on platforms take away the pain of train delays. And why we prefer stripy toothpaste. This book combines behavioural science, relatable stories, and a touch of branding magic. We can all be alchemists.