How To Get A Job In A Museum Or Art Gallery Part 9

Here is the job advertis.e.m.e.nt again, this time with some helpful notes on what to consider before you think about responding.

Job Description: Job t.i.tle: Collections Access a.s.sistant1 Salary: 13,343 per annum Full time, 36 hours per week 12 months fixed term2 Closing date: 23rd April 2009 Award winning, visionary and truly unique,3 The National Media Museum embraces photography, film, television, radio and new media, including the web. Part of the NMSI family of museums, The National Media Museum embraces photography, film, television, radio and new media, including the web. Part of the NMSI family of museums,4 it aims to engage, inspire and educate it aims to engage, inspire and educate5 through comprehensive collections, through comprehensive collections,6 innovative education programmes innovative education programmes7 and a powerful yet sensitive approach to contemporary issues. and a powerful yet sensitive approach to contemporary issues.8 Insight9 is the Collections and Research Centre of the National Media Museum. Joining the Collections team, you will research, identify and repatriate is the Collections and Research Centre of the National Media Museum. Joining the Collections team, you will research, identify and repatriate10 archived material to facilitate and encourage public access. archived material to facilitate and encourage public access.11 Specifically, your work will focus on the Zoltan Specifically, your work will focus on the Zoltan12 Gla.s.s project. Gla.s.s project.

Gla.s.s was a Hungarian photographer who specialised in doc.u.menting the pre-war German car industry and also undertook glamour and advertising photography. The Museum holds over 12,000 images of his, some of which are currently being catalogued, digitised and sequenced.13 Required Skills:14 Demonstrable experience in collections care/management and access gained within a museum/heritage environment is essential.15 Keen to learn, Keen to learn,16 you will be able to understand and engage with the Zoltan Gla.s.s project, you will be able to understand and engage with the Zoltan Gla.s.s project,17 as well as embracing the broader access and outreach philosophy of the Museum. as well as embracing the broader access and outreach philosophy of the Museum.18 An up-to-date knowledge of cataloguing and doc.u.mentation best practice is also important An up-to-date knowledge of cataloguing and doc.u.mentation best practice is also important19 ideally supported by a natural, ongoing interest in photography and other media. ideally supported by a natural, ongoing interest in photography and other media.20 Application Instructions: To apply, please write with full CV and covering letter21 to: The HR Department, National Media Museum, Bradford BD1 1NQ or email: to: The HR Department, National Media Museum, Bradford BD1 1NQ or email: We regret that we can only respond to successful applicants.

Case Study: Job Application The following advertis.e.m.e.nts, for Applied Art Keeper and a.s.sistant Keeper, appeared on the Aberdeen City Council website in May 2007. The footnotes in this section provide a detailed a.n.a.lysis of the job advertis.e.m.e.nt and the skills and competencies sought by Aberdeen City Council.

We are looking for two committed,22 versatile versatile23 and energetic and energetic24 museum professionals to join the Applied Art team museum professionals to join the Applied Art team25 at Aberdeen Art Gallery and Museums. at Aberdeen Art Gallery and Museums.26 The museum service holds an exceptional Applied Art collection The museum service holds an exceptional Applied Art collection27 ranging from ceramics and gla.s.s to fas.h.i.+on and textiles and our outstanding metalwork, jewellery and craft holdings ranging from ceramics and gla.s.s to fas.h.i.+on and textiles and our outstanding metalwork, jewellery and craft holdings28 are the result of our innovative and bold approach to contemporary collecting. are the result of our innovative and bold approach to contemporary collecting.29 Keeper, Applied Art Working with the Art Gallery and Museums Manager30 you'll develop the collection, you'll develop the collection,31 manage our 16th century town house Provost Skene's House, manage our 16th century town house Provost Skene's House,32 and lead the team. You'll bring a record of curatorial practice, exhibition development and project management and lead the team. You'll bring a record of curatorial practice, exhibition development and project management33 and be committed to making our collection fully accessible to visitors. and be committed to making our collection fully accessible to visitors.34 Experience of working in a museum environment is essential, as is having knowledge of at least one of the subject areas covered by the collections. Experience of working in a museum environment is essential, as is having knowledge of at least one of the subject areas covered by the collections.35 a.s.sistant Keeper, Applied Art a.s.sisting the Keeper,36 you'll play a key role in making our collections accessible through exhibitions and displays, you'll play a key role in making our collections accessible through exhibitions and displays,37 lectures lectures38 and the Web. and the Web.39 You'll have good collections management and doc.u.mentation skills You'll have good collections management and doc.u.mentation skills40 combined with specialist knowledge of at least one area of the collections. combined with specialist knowledge of at least one area of the collections.41 To find out more about these posts call Christine Rew, Art Gallery and Museums Manager, on 01224 523672. The closing date for the above vacancies is Monday 11th June 2007. To find out more about these posts call Christine Rew, Art Gallery and Museums Manager, on 01224 523672. The closing date for the above vacancies is Monday 11th June 2007.

Following the principle outlined above, rather than just reaching for the phone and trying to talk to Christine Rew (who would be your eventual boss if you were to be successful), find out more about the organisation and what is required. You may eventually decide you do want to ring for more information, and it looks keen if you do, but the call should only be made once you have done your basic research, with a ready list of sensible questions you want to ask.

This advertis.e.m.e.nt was spotted by Kate Gillespie, who at the time was studying for an MLitt in Museum and Gallery Studies at the University of St Andrews. She applied on 11 May 2007, well before the closing date of 11 June, and found out at the end of June that she had an interview. The interview took place on 11 July and she was informed the next day that she had the job.

Kate applied online, but the following are extracts from her CV which gave the potential for linking what they were looking for and what she could offer.

EDUCATION Higher

The University of St Andrews: September 2006 August 2007.

M.Litt with Distinction in the Dissertation in Museum and Gallery Studies.42 The University of St. Andrews: September 2002 June 2006.

2:1 MA Honours Degree in Art History43 Honours modules pa.s.sed include: The 'New Style' in Eastern Europe; Venetian Art in the Age of Reform; t.i.tian and His Age; Rubens & Rembrandt: Parallel Works; Aspects of Surrealism; and The Renaissance Court of Urbino.

Year long Dissertation 'Problems Concerning t.i.tian's Venus and Musician Series Venus and Musician Series'.

Other subjects studied at University include: Psychology, Philosophy, Social Anthropology, Cla.s.sics and Medieval History.44 PREVIOUS EMPLOYMENT Part time waitress/shop a.s.sistant. September 2004 August 2006.

The Coffee House, St. Andrews.

Job entailed product preparation, customer service, window display, cash handling and training new members of staff.45 Welcome Host. Summers of 2002 & 2003. Scottish Borders Enterprise.

Role comprised liaising with the Scottish Borders Tourist Board, a.s.sisting visitors to the Scottish Borders with any enquiries they may have had and conducting tours for groups of French visitors.46 Campsite Courier. Summer 2004. Ian Mearns Holidays, France.

Responsibilities included the general running, representation of the company and dealing with the families from all over Europe on three different campsites based in Normandy, Ile de France & Picardy.47 Summer Interns.h.i.+ps with Scottish Borders Council Museum &Gallery Services. Summers 2005 and 2006. Details below.

WORK EXPERIENCE Cla.s.sroom a.s.sistant. June 2001 2002. Hawick High School a.s.sisted teachers in second year Art and French cla.s.ses. Supervised pupils' work. Helped children (ages 13-15) with any problems they had for example grammar, spelling, reading and practical work.48 Summer Placement with Scottish Borders Council Museum &Gallery Services. June August 2005 and 2006.

Shadowed the Visual Arts Officer for the summers of 2005 and 2006. a.s.sisted with exhibition preparation and gallery management in four galleries across the Scottish Borders. Duties included researching, cataloguing, exhibition design and installation, couri-ering, press office and reprographics work.49 August 2006 worked on local Archaeological Society Anniversary exhibition. Activities included exhibition design, preparation and installation, educational work and reprographics.50 Art Education Research Project. September 2006 April 2007.

In conjunction with the five Schools of Art in Scotland; Glasgow School of Art, Edinburgh College of Art, The Royal Scottish Academy, Duncan of Jordanstone College of Art and Gray's School of Art conducted an audit on their collections to highlight the strengths and weaknesses of each inst.i.tution. Liaised with curators, archivists, librarians and conservators, while gaining experience in collections management and preventative conservation.51 Interview and selection 'It takes a long time to make an effective application for a job, but what is often not appreciated is how much time it takes for the employers to draft a person specification, write an accompanying advertis.e.m.e.nt, sift through the applications, make a shortlist, interview those selected for the final stage of the process and then make an appointment.

'In this case the person specification and job advertis.e.m.e.nt were drafted by Christine Rew, who would be the eventual line manager, but were checked by me, as Aberdeen City Council is the ultimate employer. The interview panel was to consist of three people: Christine as Art Gallery and Museums Manager, me as Service Manager, Culture and Leisure for Aberdeen City Council (museums come under my remit as do arts, libraries, development and education and sports) and a third 'external' member; usually either an academic from one of the two universities in Aberdeen or another colleague from a different part of the council.

'The advertis.e.m.e.nt drew about 40 responses and then the three interviewers each went through the applications, along with Christine Rew's person specification and a list of the (a) essential and (b) desirable personal attributes sought. We looked for a full match in the former, and as much as possible in the latter, and each drew up a list of those we should interview. We then compared notes and made our final selection for the shortlist. We would generally try to interview no more than six to eight people, and if we were unable to reduce the list down to this number would a.s.sume our advertis.e.m.e.nt had not been drafted with sufficient precision.

'Kate's application was certainly strong, but within an impressive field. Although young she had ama.s.sed a lot of work experience and clearly shown her commitment to a future spent working in museums and galleries. What I do remember about her interview was her enthusiasm and the trouble she had taken to find out about both the collection and those she would be working with if she got the job. For example, Christine Rew is an expert in applied art and has written extensively on it, and Kate showed that she was familiar with both the collection and Christine's research. This impressed us all and her appointment was a unanimous decision.'

Neil Bruce, Service Manager, Culture and Leisure, Aberdeen City Council Kate Gillespie's current role Interview with Kate Gillespie, a.s.sistant Keeper (Applied Art), Aberdeen Art Gallery and Museums 'At school I had always loved art but thought there were no jobs available in this field, so I made a sensible choice and went to the University of St Andrews intending to study psychology. But Scottish universities require students to take a variety of subjects before specialising, and after two years sampling other options (philosophy, anthropology, as well as psychology and history of art) I found the latter was by far my preferred choice and continued with a single honours history of art degree.

'Having made my choice, I started thinking about employment and wrote to my local authority offering myself for voluntary work during the summer vacation. I heard back from the local Visual Arts Officer for the Scottish Borders and ended up shadowing her for about three months during the summer before my final year as she established a temporary exhibition programme for five local galleries. The work was unpaid, although some costs were reimbursed. I lived at home and financed myself through the proceeds of the part-time jobs I had had while a student waitressing in a cafe and working in a bar. I had very little spare cash but I did feel I was making an investment in my future I could suddenly see career options opening up. I just loved the work in fact so much so that I went back the following year to work for her again, and she was my referee for all subsequent job applications.

'I got a 2.1 in history of art. After graduating, I enrolled on the MA in Museum and Gallery Studies at St Andrews a year-long course running from September to May for the PG Diploma, or until September if you decide to present a dissertation and emerge with a Master's degree.

'The course covered all manner of things, from curating temporary exhibitions to researching and developing the university's permanent collection, and from devising educational programmes to writing marketing materials. We were also given a lot of advice on applying for jobs (preparing an appropriate CV and on what to say in accompanying letters) and how to perform in interviews (what to find out about beforehand, with the offer of practice interviews if needed).

'We were encouraged to apply for a variety of jobs rather than to be picky and hold out for a specific role and my applications included roles in education, audience development, curators.h.i.+p and so on. I saw my current job advertised in May and applied immediately, and found out I had been successful in July. The gallery manager and I then negotiated when I would start as she was keen that my dissertation would be finished by the time I began opportunities to complete it would be limited with a full-time job. I do think that students are often completely unprepared for what hard work it is starting a full-time job after the rather laid back life of a student.

'My job is varied and no two days are the same. It is my responsibility to curate the Applied Arts and Craft collection. Our craft collection is particularly strong and I suggest ongoing and temporary exhibitions from the permanent collection. There are certain fixtures in our calendar the Aberdeen Artists' Society Exhibition every spring and the BP Portrait Award Exhibition, which comes to us after it has been on display at the National Portrait Gallery. We try to have a family-orientated exhibition in the summer and this year it is to be the ill.u.s.trations of children's book ill.u.s.trator Lauren Child.

'Developing the collection is another of my responsibilities. The purchasing budget is very limited, but when we are offered things to buy we can sometimes make a case for acquisition through the Friends of Aberdeen Art Gallery and Museums, and this is how we were able to buy an arts and crafts necklace designed by Ann MacBeth, a key addition to our collection. I attend art fairs and take part in compet.i.tions that might bring additional funds and attention to the gallery. For example, I have just been on a trip to New York, for contemporary craft curators in Scotland, and in May I am taking part in the 'Collect' craft fair in London. To coincide with this, the Art Fund has invited galleries with a strong collection of crafts to bid for the purchase of an item for their collection. Ten bids have been accepted and five will be chosen if ours is successful, that means we will gain a new item of specific relevance to our collection, at no cost to us.52 'I have sought to develop links with the Fine Arts curators within the gallery, and exhibitions we have put on so far have offered a more joined up approach than had previously been the case.

'I spend time cataloguing what we have, preparing audience information for new exhibitions and educational events, and giving talks to relevant groups in the area. We have a series of lunchtime lectures and I take part in these too. On occasion I help with the packing and transporting of works of art to galleries we are lending to; providing a personal courier service.

'A part of the job that is seldom considered is the answering of queries from the general public, which takes a lot of my time. The questions come in a variety of formats, from letters and e-mails to people arriving at the front door with an item in a black bin liner. Some want to know something of the item's provenance, but often they are seeking information on its value which is the one thing we are not allowed to advise them on. We have to refer them to relevant dealers (without recommending anyone specifically). Often people have seen items featured on television programmes about antiques and realise they own something similar and so want to have this confirmed.

'Similarly, members of the public frequently offer items to the gallery as gifts, but given that our storage facilities are limited and our ability to catalogue our existing collection is under severe pressure, we have to be careful about selecting those we are able to accept. Often members of the public have no concept that other people might be offering items too, and diplomatic handling is required. Taking additional material into the gallery should be done in the context of the collection as a whole, and expand both understanding and appreciation there is little point in adding items that no one has time to research and will never be seen again.

'Another part of my job is to manage the volunteers who work in the gallery; some help with routine cataloguing and checking, and other tasks that full-time staff do not have time for.

'When people are giving their time for nothing it is important that they feel valued, but it is equally important that we provide training in gallery practice and care, and that we encourage them to appreciate our priorities and the significance of the collection.

'It's a fascinating world and I feel privileged to be part of it.'

Chapter 15

How to give an effective interview

An interview is a chance for an organisation to see whether you match up to the CV you have sent in: to estimate how you might do the job they have advertised and how you might fit in with their team. Most employers are looking for people who can not only do the job required but also who will be harmonious work colleagues and fit into the wider environment. An interview offers the chance to a.s.sess both of these. So if your job application has been drafted by someone else, or after substantial input from others, this will show during the interview.

The key to an effective interview is preparation. It is essential that you: understand the organisation you have applied to work for; have a clear grasp of what they are looking for; are able to demonstrate that the skills and competencies you offer are the solution to their recruitment needs.

You must be able to demonstrate all the above succinctly because the interview may last no longer than half an hour, sometimes less.

1. Understand the organisation you have applied to work for Understand the organisation you have applied to work for You will have already carried out a lot of research to get to this point, so now is the time to both revisit the information you acquired, and think about the organisation again. If possible, visit it in person and have a look around; if distance prevents you from doing this, try to get as much information as possible online (lots of museums and galleries now offer virtual tours through their websites). Do a Google search on the organisation; see what is said about them on Wikipe-artdia; follow up references to key management changes (has there been a new director or significant purchase in the last few years?) and talk to anyone you know who has been involved with them. Also, find out what is topical both in the local area (the website of their local paper may tell you much) and in the national and international world of museums and galleries (as I write there are initiatives to match the launch of the film Night in the museum Night in the museum with night-time openings of a number of British inst.i.tutions). with night-time openings of a number of British inst.i.tutions).

2. Have a clear grasp of what they are looking for Have a clear grasp of what they are looking for Go back through the job advertis.e.m.e.nt you responded to and think about the key verbs used, what they said about themselves and what this is likely to imply about the organisation as a whole. Now do the same for what they say about the desirable skills and attributes of the person they want to employ. Summarise these thoughts into two lists, which might look something like the following: How they see themselves a very significant organisation in the region; part of the local cultural scene; javing an increasingly national and international reputation; as a centre of learning and knowledge; accessible, friendly and encouraging to those who are not familiar with museums.

What they are looking for someone who shares their priorities; organising abilities, both for self and others; an ability to communicate with all sectors of society, including those unfamiliar with museums; tact and diplomacy.

3. What you are able to offer What you are able to offer Refer to the lists you made, firstly of how they see themselves and secondly of what they are looking for. Now read a copy of what you sent in response; the doc.u.ment that presumably made them consider that you are a possible good match for what they are looking for (because they have asked you for an interview).

As you read through these doc.u.ments, think clearly about how your job experience and personal qualities match up. Do you have a genuine interest in what they do? For each of their priorities and stated requirements, try to think of some practical examples from your past that ill.u.s.trate your suitability and commitment. So if they describe themselves as outward looking and seeking to engage with new audiences, think about how you can prove you are too. Have you any experience of organising publicity; trying to engage people in things they at first a.s.sumed were boring (through organising an event or a reading that challenged a.s.sumptions or giving a talk to a group that helped to change minds)?

The practicalities of being interviewed before you get there The offer of an interview will probably come by phone, so once you have made a job application, make sure you carry your diary, some notepaper and something to write with around with you at all times. If you have a large bag, check that these items are accessible quickly!

If the offer of an interview comes by post or by e-mail, as well as noting the time and date in your diary, be sure to confirm the arrangements back to the sender. If you don't, they may a.s.sume you are no longer interested in the position and give the slot to someone else. And do this in the style with which you wish your application to be considered so in appropriate business language, not just 'great thanx'.

Double check the location (inst.i.tutions are often spread over several sites) and how to get in (interviews may be held on the days that galleries are closed so gaining access can be difficult). Write down specific names and extension numbers you have to contact in order to get inside. If you have only been given the details of the person interviewing you, ask for an additional administrative contact name and number for the day (those in the interviewing room will be tied up seeing the person before you and have their phones switched off). Do this in case of problems on the day so you can let them know what is happening. Make sure you have this information to hand (load the numbers into your mobile phone right now).

Work out how to get there on time; there is nothing more stress-inducing for you, and irritating for the potential employer, than being late and one late interview makes everyone else late too. Allow time for train delays, heavy traffic on the roads, difficulty in finding somewhere to park. If driving is the only possibility and the inst.i.tution is in a city centre, ask if they have parking available on site many have a 'visitors' spot available on a first come, first served basis.

Dress appropriately. The general guidance is that you should think laterally rather than making an automatic decision to wear a suit. A job in a gallery or museum tends to be a creative role, so try to express your personality in the way you dress not in an outlandish way, but to show you are an individual and have taste and discernment. Ensure your hands and nails are clean, that your hair is freshly washed and that you smell pleasant. If you are brave enough, ask your friends to tell you whether there are aspects of your appearance that mar the overall impression. For example, do you wear too much make-up, or is your habit of shaking your head to slip your floppy fringe sideways inclined to annoy? Are there any particular words that you use too often? Don't forget that you never get a second chance to make a first impression.

Develop a firm handshake. Practise until this is good most interviews will start with a handshake and the proffering of a limp lettuce leaf does not get things off to a good start.

Take along something to write with and on you may want to make notes during the interview such as the names of those who are interviewing you. Writing things down (without doing so excessively; this is an interview not a lecture) also fixes them in your mind and from their point of view looks as if you are taking things seriously.

Remember that anything you put on your CV or in your accompanying letter will be seen as fair game for questions, so take some time to think through all you have listed and what you might get asked. Why did you spend two weeks on one placement and two months on another? Take a particularly close look at your specified interests; if you have listed reading remember the last few books you have read. Similarly, given the kind of job you are applying for, be ready to say which collections you have visited recently and what you thought of them, in insightful rather than judgemental terms.

Practice interviews If possible, do a practice interview with friends or colleagues get them to ask you all the questions that are tricky to answer. There are books available on how to answer tough interview questions the problem is that your interviewers may have read them too. A better way of preparing for an interview is to think through your own real responses to difficult questions, ones which put your competencies in the best possible light but also reveal your individuality. Consider the following: What do you have to offer?

Why should we employ you?

What use did you make of your time at university?

If you are doing an MA in some aspect of curating or museum studies, you will find your tutors are probably willing to help you practise for an interview (it's in their interests that their graduates find jobs and so recommend the course to others).

Dealing with tricky questions Some interviewers use a controversial statement to see how interviewees respond under pressure and how good they are at thinking on their feet. To spot potential areas that might arise, think about the opinions you hold about this world and then invert them, so for example: 'Isn't your MA in museums.h.i.+p just a finis.h.i.+ng school?'

'Why on earth should museums be funded from the public purse when such a small sector the population visit them regularly?'

Make a positive link between what you can offer and what they are looking for. Don't tell them things they don't need to know or that will make your application less attractive to them. Stress the positive university as an opportunity to study what you were really interested in rather than three years of late nights and no responsibility; your first work placement as a valuable chance to see a museum from the inside rather than feel exploited because everyone gave you dogs-body jobs. Don't complain about previous employers, whether the individual line manager or the organisation as a whole. It's never a good idea; this world is small and there's a good chance your interviewers may know those you are complaining about. Instead, say what you learned in the process and why you really want to work for those interviewing you now now.

How to behave during an interview Be mindful that the interview may start before you are aware of it lots of firms include other staff in the process, and someone who is disdainful towards the receptionist, or who at a pre-interview briefing with all the candidates shows no interest in talking to anyone other than the senior management doing the actual interviewing, may get no further. Someone will probably take you from the waiting area to the place where you are to be interviewed and may chat to you on the way, to try to put you at your ease.

Follow their lead, answering the questions you get asked.

The interviewers will probably start by introducing themselves and shaking hands. They will probably expect you to be a little nervous, so may start by asking you something ba.n.a.l, about your journey there or whether you have been to the location before. Answering gives you the chance to hear your own voice in this very strange situation trebly so if you have never been interviewed before. Get used to it! It's an artificial situation but one in which you have to play a role, and make it clear to the interviewers that they should choose you. You are probably best placed to do this if you appear confident (without being arrogant), competent (without being over-bossy) and articulate (without being over-opinionated).

Build rapport; listen to the tone of voice they use when asking you questions and try to respond in a similar vein. Think back to your foreign language oral examinations at school and how you had to listen out for the verb being used, and respond in kind.

Talk from memory. Even though you made sheaves of notes in your preparation for the interview, and you really want the interviewers to know how seriously you have taken this opportunity, leave the notes in your bag. If you must have something to refer to, make a one- or two-word cue of the three most important things they need to know about you and put this somewhere discreet perhaps on the cover of the notebook you are carrying. But whatever you bring in and refer to will get noticed and many people can read upside down.

Try to make eye contact with everyone during your time in the room, not just the person asking the question. It's standard practice for the interviewers to discuss beforehand what they should ask and then divide up the questions between them, so a.s.sume your answers are interesting to them all.

Listen to the question in full before you answer. If the questioner is particularly long-winded (not all interviewers are particularly good at interviewing!) then try to paraphrase what they want to know before you reply without sounding as if you are trying to correct them. Listening to the question in full gives you time to think. If you don't understand, ask them to explain in more detail or say 'that's interesting can I just clarify what you are asking?' and try to summarise. If you don't know where to start, are unclear what they are looking for, or fear getting it completely wrong in a highly political situation, consider a theoretical response, outlining various opinions. For example, if asked: 'Where do you stand on the issue of charging for admission?', and you know this is being hotly contested between the gallery and the local council, but not which side of the fence those interviewing you are sitting upon, you could say: 'Opinion is quite divided. Some people feel that charging deters, others that it makes people value what they are visiting in the same way that they expect to pay for any form of entertainment' and then quote some experience you have had in an inst.i.tution where you have been doing a placement or read of in the professional or general press. Follow the politician's hierarchy when providing examples and move from personal, to local to national (about which they will know vastly more than you), so: 'I remember as a teenager, visiting Paris for the first time, being surprised to see that in other countries you are charged for admission.''In Kingston we have found that making a standard charge for school parties, to cover the costs of arranging a guide, has had no detrimental effect on school bookings.''It's all part of a much bigger issue to do with how heritage is valued and funded.'

Once you have answered a question to the best of your ability, remain quiet rather than rambling on. This shows you understand the value of concision.

Some interviews now require you to make a short presentation on your skills or apt.i.tudes and the key thing here is to check how long you have been allowed for your contribution. Bear in mind that repeating out loud what is displayed on a PowerPoint slide may quickly become very tedious and it is usually better to have just a few words on screen to use as prompts and to remind those listening to you where you have got to. I have seen interviewees set up presentations in the interview room attaching notes and string to the walls and so on and if this is your intention be sure that you have suffi-cient time to do this effectively and have practised it beforehand. You also need to find out about the s.p.a.ce you are occupying how big, how small, how much string you will need and if you are allowed to use sticky substances on the walls. You don't want your nerves being further augmented by last minute surprises.

At some stage in the interview you will be asked if you have any questions, so be sure to have a couple up your sleeve. They should be points of information you want to have clarified, not aggressive questions along the lines of 'Why on earth don't you...?' You could ask about the interview process and what happens next, or if the person interviewing you would be the person you report to if you got the job. Another good tactic is to use the time for questions as an opportunity to highlight something you want them to know you are interested in and that they have made only pa.s.sing reference to but for which regretfully there is no time for further discussion right now. Asking when they will let you know is a good way to end as it implies that there may be other people after you too/that you are particularly keen on this opportunity. Or you could just remind them that you really do want this job (sounding keen rather than desperate).

When it is clear that your time is over, don't try to prolong it. You have had your share of the spotlight. Shake hands again and thank them for their time. Try to do so with sincerity.

What to do afterwards A note of thanks is always a good idea well expressed, not over-gus.h.i.+ng, but sincere. Refer to something that interested you particularly, or that you saw on your tour of the neighbourhood afterwards which shows you were looking around as someone who might want to live there.

Keep the pad, diary and pen handy in case they ring you for a second interview. In which case you go through the whole process again, with a different outfit/s.h.i.+rt/accessories and questions.

Chapter 16

How to handle a job offer or respond to disappointment

When I was a student and busy applying for jobs, the difference between success and failure was measured in time and substance. Time, because a quick response was usually good news, and a delayed one bad. And the substance (or otherwise) of the package I subsequently received in the post was also significant: thick was good (because lots of supporting information had to be required, filled in and then returned), thin was bad (just a letter telling you no).

Nearly 30 years on, and despite the arrival of the Internet, mobile phones and other methods of near-instant communication, nothing much has changed. Museums and galleries still tend to operate a formal, polite system that informs in this way. They are measured, courteous and detail orientated.

I'm going to begin by taking a positive response to disappointment. Of course it can be devastating to be told that the job on which you had your heart set has gone to someone else, but in strategic terms, you were actively considered just not successful. I have spent a lot of time working in direct marketing and people who used the response device to let you know they did not want to order (as opposed to not responding at all) were considered second only in importance to those who put in an order, because it showed that they had weighed up the options and decided against; they remain prospects for future custom. So if you were on the shortlist, but did not make the final selection, you did very well indeed, particularly given the number of people who apply for such vacancies. So chalk it up to experience; it's their loss and better luck next time.

How to respond to disappointment There are two things you should definitely do, and one you could think about. The first is to review how the interview went and how it could have gone better. I don't mean in a dismissive 'I was rubbish' way, but by thinking carefully about what happened, the questions that were asked, what you said, and what might have gone better. Go through the process in some detail and write your answers down.

Although you may be tempted to come up with sweeping generalisations, or think you remember little, if you begin the process of a.n.a.lysing what went on, you will find you recall more than you think you do. You could either do this exercise on your own, or as an interview with a trusted friend asking you the questions. So: Timing and arrival. Did all go as planned? Were you fl.u.s.tered or calm?

Did you meet any other candidates and how did this feel? Did you talk to those who were already there? Who took you to the interview room and how did this feel?

When you were escorted into the interview room, what happened?

Who was there and did you understand the role of each person? Did you arrive in a relaxed frame of mind; did they make you feel at your ease?

Did they know who you were and seem interested in finding out about you?

What did you wear and what were they wearing? Was there an empathy or did you feel awkward?

What questions were asked and what was your response to each one?

Did any of your responses seem to surprise them? Did anyone start writing or sit back in their chair after you had said something?