The Receptionist Who Turned BBDO Into Her University

This lesson traces the pivotal early chapter of Susan Creedle's career — from walking into BBDO in 1985 with no portfolio and no connections, to quietly building one of the sharpest creative minds in the industry. What makes this story so powerful isn't the destination. It's the method. Susan didn't wait for permission to learn. She engineered her own education from the inside out.

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When Susan arrived in New York in 1985, BBDO had just been named Agency of the Year. She walked in and asked for a job. They asked what she could do. The honest answer? Not much — at least not on paper.

So she became the receptionist's bathroom-break fill-in.

That's not a footnote in her story. That is the story. Because Susan immediately reframed what that role meant. Instead of seeing it as a dead end, she saw it as a key. Her thinking: if I can just get in the door, I can turn this company into my university.

The lesson here is deceptively simple but genuinely hard to execute: stop waiting for the right title before you start learning. The junior role, the temp gig, the side-door entry — these aren't consolation prizes. They're access points. What you do with that access is entirely up to you.

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Because Susan wasn't tied to a single desk, she had something most junior employees don't: time and mobility. She used both deliberately.

Her first move? She called the heads of every department at BBDO and asked for informational interviews.

Think about that for a moment. A receptionist fill-in, cold-calling the most senior people in one of the world's top agencies — not to ask for a job, but to ask to learn. That kind of intellectual audacity is rare. And it worked.

This is a transferable strategy for anyone early in their career. The best organizations are full of brilliant people who, more often than you'd expect, are willing to share what they know — if you ask with genuine curiosity and respect for their time.

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One of the most quietly profound details in Susan's early career: she moonlighted typing scripts for senior creatives, including legendary BBDO Chairman Phil Dusenberry.

She wasn't in the room pitching ideas. She was transcribing them. But here's what she understood that most people would miss — when you type enough scripts, you start to see the architecture of storytelling. You absorb how a narrative builds, where tension lives, how a payoff is earned.

This is a masterclass in learning through proximity. You don't always need to be the one holding the pen to understand how great writing works. Sometimes the most valuable education happens when you're paying close attention to someone else's craft.

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Phil Dusenberry was one of the most influential creative figures in advertising history — the man behind some of the most iconic campaigns of the 1980s and 90s. His belief, which he lived out through his work, was that advertising could sit beside great entertainment and hold its own.

For a young Susan Creedle, this was formative. It reframed the entire profession.

Advertising isn't filler between the things people actually want to watch. At its best, it's something people want to experience — something that earns attention rather than demanding it. Dusenberry treated that responsibility seriously, and Susan absorbed that standard early.

That word she uses — noble — is worth sitting with. It's not a word most people reach for when describing advertising. But it captures something real: the idea that if you're going to interrupt someone's day, you owe them something worth their time.

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Here's a perspective that reframes the entire creative stakes of advertising work.

At the height of mass media, Susan points out something striking: more people would see a great ad than would read a bestselling book, watch a hit film, or listen to a chart-topping album. Those were niche experiences compared to a television commercial that ran during prime time.

That's not a small thing. That's an enormous creative responsibility.

The best advertising doesn't just sell — it shapes culture. It puts images, ideas, and emotions into the minds of millions of people who didn't ask for them. Which means the people making those ads have real power to reflect the world back accurately, to challenge assumptions, or to push culture toward something better.

Susan took that seriously from the beginning. And it shows in the work she went on to create.

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• Getting in the door is the move. Don't let a junior title stop you from learning like a senior person.
• Turn your organization into a university. Seek out the best people and ask them to teach you — most will say yes.
• Learn through proximity. Typing scripts, sitting in on meetings, observing great work up close — these are legitimate forms of creative education.
• Phil Dusenberry's standard matters. Advertising that earns its place beside great entertainment is the goal worth chasing.
• Mass reach is a creative responsibility. When your work reaches millions, what you say — and how you say it — genuinely matters.