Signature 57 sells a deceptively practical idea: the story is only as good as the order in which people hear it. That idea carried a one-person consultancy into museums, murals, rebrands and the largest sporting event on earth.
The Metairie PR firm has spent 17 years turning a very New Orleans asset - knowing whom to call, and why they might care - into campaigns that move votes, registrations and millions of charitable dollars.
Powell Communications found a profitable little paradox: the people who make famous work often need help becoming famous for making it. Its answer is a year-round machine of stories, stages, juries and social proof.
FITZ & CO does not sell art. It makes art legible to the people who fund it, cover it, visit it, and decide what matters - a quiet power built over 30 years.
Tony Fay Public Relations built a national agency by treating publicity less like promotion and more like deadline journalism - find the angle, assemble the assets, and give the story somewhere useful to go.
Wireside built a communications business around an unfashionable truth: the harder a technology is to explain, the more human its story must become.
When a famous Hollywood publicity firm lost its place in a corporate merger, its people did not scatter. They picked up the relationships, revived an old name, and moved the whole conversation to a new room.
The hospitality agency turns restaurant openings, hotel histories and local relationships into reasons to show up. Its most useful lesson: give people something specific to come for.

She left senior nonprofit titles behind, learned a new industry from the ground up and turned an unconventional résumé into an operating advantage at Sprout Social. Her favorite metaphor for the work comes from ultrarunning: the training matters because, eventually, you have to race.