Tom Hoare Interview
Tom Hoare, Senior Copywriter at Koto, shares insights on crafting verbal identities, effective team collaboration and advice for thriving in the industry
Published on
Dec 20, 2024
6
min. read
Where’s your hometown and where do you live currently?
I grew up in Penrith, which is a town in a rural county in the north of the UK called Cumbria. Fun fact: the man who used to live next door to my parents held the world record for being the fastest sheep shearer in the world. There was a kids TV show called Record Breakers in the UK in the '90s, and he went on that and broke the record live on TV. So, in Cumbrian terms, it was the equivalent of living next door to Elton John or some other major celebrity. I now live in London and don’t think either of my neighbours have been on Record Breakers, but this has reminded me to check.
How do you think where you grew up shaped your creative process?
I’d love to be able to say that the picturesque landscape instilled in me a deep appreciation for many of the famous literary figures associated with the Lakes, but I was just way more interested in tractors. When you’re a kid, you’re not really into poems about daffodils—you’re into PlayStation or digging holes in the back garden with the dog.
That said, I have a huge amount of time for Cumbria. I think somewhere that’s predominantly rural isn’t going to have the type of opportunity or infrastructure in the arts or music scenes that you might get in bigger cities, which can obviously be very limiting. But the flip side is that a lot of the creative scene there is very community-based, so I think that sort of grassroots/DIY approach has had a big impact on me personally. For me, it validated the idea of doing things simply because you enjoy doing them, and that there is a lot of value to that.
In a few sentences, describe what you do.
I’m a Senior Copywriter at Koto, where I’m lucky to be part of an incredible strategy team. I mostly work on verbal/brand identity projects or campaigns, which is nice.
How do you navigate the downturns and uncertainties of this industry? Any insight for creatives currently dealing with this?
It’s tough. I’ve worked in two agencies that no longer exist. The first one, I went down with the ship because I didn’t know any better. The second one, when the water began creeping under the doors, I got out before it went completely under. But the lack of job security in that sense is an industry-wide problem. The creative industry in general feels economic hurt quicker than most others. If there is a flipside to that problem, it’s that things can turn around quickly, too.
Do you think there are essential ingredients for building a brand voice that should always remain?
I don’t think there’s a set menu of things that you need—it’s actually something I try to stay away from. Trying to figure out how you codify something or express something in a way that makes it feel distinct is what I really enjoy doing because it varies so much from project to project. The only thing I'd say I apply consistently across projects is trying to get some sense of rhythm in the copy. I think the ultimate goal is to produce copy that doesn't just sound like copywriting.
What’s your process for fostering a successful team of writers?
Without me just regurgitating Maslow’s hierarchy of needs, I think it boils down to not trying to get people to write what you’d write but helping them to write what only they can write.
Tell us about the culture of Koto. And how do you manage the pressure of being held to an extremely high standard?
I think everyone at Koto wants to make the best work they can, and it’s an environment that gives people the opportunity to do that. When you work with a lot of very talented people, you see why the quality of the work (in my opinion) is very high. In terms of managing pressure, a big part of that is just communicating when your plate is getting a bit too full. Koto has a dope CS team so it’s easy to iron out any issues if things are getting a bit crunchy.
What advice would you give to junior writers working in agencies?
Always offer your opinion, or, if you don’t really have one, start to think about what it could be and get used to putting it forward. And don’t feel like you have to wait until you’re asked—just volunteer it. If you skew introverted like me, this might sound sociopathic, but honestly, people do really want to hear what you’ve got to say.
If you could collaborate with anyone or any brand, who would it be?
I’d love to collab with Sacla Pesto. Honestly, the best off-the-shelf pesto by quite some margin. I like that when you go on their site—which I do often to keep up to date or perhaps reread the FAQs—the headline just says PESTO. And that’s it. I respect that.
What’s a piece of feedback that still haunts you?
At one point, I was staying afloat by writing content syndication articles. I’ll ’splain these real quick—they’re the type of articles that have made Google and every other search engine practically useless. You get a list of keywords or phrases you have to include and the density at which they need to appear. You then write an article of usually 500 to 800 words and try to dull the ache from the area where your soul used to be.
I had to write a series of articles about the benefits of leasing second-hand medical equipment (for an American audience, naturally), and when the client read them, they said they were the worst thing they had ever read—which I've worn as a badge of honour ever since.
Do you have rituals for finding inspiration, or do you let it come naturally? And what’s your favorite offline source of inspiration?
Comment sections. I adore the way people write when leaving a review or a comment, like an unfiltered and unhinged stream of consciousness. And also song lyrics. Offline, there is a magazine shop in east London called Mag Culture that is a great place to go and find really good writing on all sorts of niche things.
What’s your favorite way to procrastinate when you’re supposed to be writing?
The holy trifecta for me is Reddit, NYT, and a YouTube channel called The Hoof GP that’s basically a guy that trims cows’ hooves.
What about the industry do you wish you knew starting out in your career?
If you are a writer, then you are probably going to be the only writer in the entire place, which means it’s gonna fall to you and only you to make something of it. If you are lucky and you work with someone else whose background is in writing or they are still a writer, then rinse them for all the advice they are worth.
Where can The Subtext readers keep up with you?
I do technically have a profile on LinkedIn.
Bonus Round
What do you listen to while working?
I actually wrote something for Deezer that answers this question:
What’s your most creatively inspired time of day?
Defo 9ish to like 12ish (AM)
What’s one writing rule you love to break, and one you never do?
I break most rules concerning basic grammar usage but that’s more out of ignorance as opposed to a style choice. It’s not really a rule but I try to be as heavy handed with the delete key as possible. This will sound counterintuitive but so many times the way I make my writing better is deleting most of it. The delete key is the most valuable key on your keyboard IMHO.
Favorite personal mantra?
If you weren’t in this industry, what would you be doing?
100% driving or operating some kind of heavy machinery.
Describe your creative process in three words.
Better late than
Tom is a Senior Copywriter at Koto London. Before that, he made a magazine called The Drummer’s Journal which you can still find online.
Where’s your hometown and where do you live currently?
I grew up in Penrith, which is a town in a rural county in the north of the UK called Cumbria. Fun fact: the man who used to live next door to my parents held the world record for being the fastest sheep shearer in the world. There was a kids TV show called Record Breakers in the UK in the '90s, and he went on that and broke the record live on TV. So, in Cumbrian terms, it was the equivalent of living next door to Elton John or some other major celebrity. I now live in London and don’t think either of my neighbours have been on Record Breakers, but this has reminded me to check.
How do you think where you grew up shaped your creative process?
I’d love to be able to say that the picturesque landscape instilled in me a deep appreciation for many of the famous literary figures associated with the Lakes, but I was just way more interested in tractors. When you’re a kid, you’re not really into poems about daffodils—you’re into PlayStation or digging holes in the back garden with the dog.
That said, I have a huge amount of time for Cumbria. I think somewhere that’s predominantly rural isn’t going to have the type of opportunity or infrastructure in the arts or music scenes that you might get in bigger cities, which can obviously be very limiting. But the flip side is that a lot of the creative scene there is very community-based, so I think that sort of grassroots/DIY approach has had a big impact on me personally. For me, it validated the idea of doing things simply because you enjoy doing them, and that there is a lot of value to that.
In a few sentences, describe what you do.
I’m a Senior Copywriter at Koto, where I’m lucky to be part of an incredible strategy team. I mostly work on verbal/brand identity projects or campaigns, which is nice.
How do you navigate the downturns and uncertainties of this industry? Any insight for creatives currently dealing with this?
It’s tough. I’ve worked in two agencies that no longer exist. The first one, I went down with the ship because I didn’t know any better. The second one, when the water began creeping under the doors, I got out before it went completely under. But the lack of job security in that sense is an industry-wide problem. The creative industry in general feels economic hurt quicker than most others. If there is a flipside to that problem, it’s that things can turn around quickly, too.
Do you think there are essential ingredients for building a brand voice that should always remain?
I don’t think there’s a set menu of things that you need—it’s actually something I try to stay away from. Trying to figure out how you codify something or express something in a way that makes it feel distinct is what I really enjoy doing because it varies so much from project to project. The only thing I'd say I apply consistently across projects is trying to get some sense of rhythm in the copy. I think the ultimate goal is to produce copy that doesn't just sound like copywriting.
What’s your process for fostering a successful team of writers?
Without me just regurgitating Maslow’s hierarchy of needs, I think it boils down to not trying to get people to write what you’d write but helping them to write what only they can write.
Tell us about the culture of Koto. And how do you manage the pressure of being held to an extremely high standard?
I think everyone at Koto wants to make the best work they can, and it’s an environment that gives people the opportunity to do that. When you work with a lot of very talented people, you see why the quality of the work (in my opinion) is very high. In terms of managing pressure, a big part of that is just communicating when your plate is getting a bit too full. Koto has a dope CS team so it’s easy to iron out any issues if things are getting a bit crunchy.
What advice would you give to junior writers working in agencies?
Always offer your opinion, or, if you don’t really have one, start to think about what it could be and get used to putting it forward. And don’t feel like you have to wait until you’re asked—just volunteer it. If you skew introverted like me, this might sound sociopathic, but honestly, people do really want to hear what you’ve got to say.
If you could collaborate with anyone or any brand, who would it be?
I’d love to collab with Sacla Pesto. Honestly, the best off-the-shelf pesto by quite some margin. I like that when you go on their site—which I do often to keep up to date or perhaps reread the FAQs—the headline just says PESTO. And that’s it. I respect that.
What’s a piece of feedback that still haunts you?
At one point, I was staying afloat by writing content syndication articles. I’ll ’splain these real quick—they’re the type of articles that have made Google and every other search engine practically useless. You get a list of keywords or phrases you have to include and the density at which they need to appear. You then write an article of usually 500 to 800 words and try to dull the ache from the area where your soul used to be.
I had to write a series of articles about the benefits of leasing second-hand medical equipment (for an American audience, naturally), and when the client read them, they said they were the worst thing they had ever read—which I've worn as a badge of honour ever since.
Do you have rituals for finding inspiration, or do you let it come naturally? And what’s your favorite offline source of inspiration?
Comment sections. I adore the way people write when leaving a review or a comment, like an unfiltered and unhinged stream of consciousness. And also song lyrics. Offline, there is a magazine shop in east London called Mag Culture that is a great place to go and find really good writing on all sorts of niche things.
What’s your favorite way to procrastinate when you’re supposed to be writing?
The holy trifecta for me is Reddit, NYT, and a YouTube channel called The Hoof GP that’s basically a guy that trims cows’ hooves.
What about the industry do you wish you knew starting out in your career?
If you are a writer, then you are probably going to be the only writer in the entire place, which means it’s gonna fall to you and only you to make something of it. If you are lucky and you work with someone else whose background is in writing or they are still a writer, then rinse them for all the advice they are worth.
Where can The Subtext readers keep up with you?
I do technically have a profile on LinkedIn.
Bonus Round
What do you listen to while working?
I actually wrote something for Deezer that answers this question:
What’s your most creatively inspired time of day?
Defo 9ish to like 12ish (AM)
What’s one writing rule you love to break, and one you never do?
I break most rules concerning basic grammar usage but that’s more out of ignorance as opposed to a style choice. It’s not really a rule but I try to be as heavy handed with the delete key as possible. This will sound counterintuitive but so many times the way I make my writing better is deleting most of it. The delete key is the most valuable key on your keyboard IMHO.
Favorite personal mantra?
If you weren’t in this industry, what would you be doing?
100% driving or operating some kind of heavy machinery.
Describe your creative process in three words.
Better late than
Tom is a Senior Copywriter at Koto London. Before that, he made a magazine called The Drummer’s Journal which you can still find online.
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