Flunking my Anthropic interview again

One great piece of advice an informal mentor gave me long ago is that there is no information in a rejection.

That is to say that you cannot draw any conclusions about yourself or your interviewing technique or your skills or anything from the single accept==0 bit that you typically get back. There are so many reasons that a candidate might get rejected that have nothing to do with one's individual performance in the interview or application process.

Having been on the hiring side of the interview table now many more times than on the seeking side, I can say that this is totally true.

One of the biggest misconceptions I see from job seekers, especially younger ones, is to equate a job interview to a test at school, assuming that there is some objective bar and if you pass it then you must be hired. It's simply not true. Frequently more than one good applicant applies for a single open role, and the hiring team has to choose among them. In that case, you could "pass" and still not get the job and the only reason is that the hiring team liked someone else better.

I can only think of one instance where we had two great candidates for one role and management found a way to open another role so we could hire both. In a few other cases, we had people whom we liked but didn't choose and we forwarded their resumes to other teams who had open roles we thought would fit, but most of the time it's just, "sorry."

This. I've hired in a number of roles, in several industries, and what they've all had in common is that rejection is never personal.

My first career was in theatre, which a) is (or at least was, back in the day?) much more competitive than tech - par was one callback (ie, second screening) per 100 auditions, and one casting per 10 callbacks; and b) is genuinely, deeply vulnerable - you have to bring your whole self into your work, in a way that you don't in any other field.

It's still never personal, and actors who don't develop thick skins wash out quickly.

I once auditioned three rounds for Romeo, at a company I really liked, and thought I'd killed it. I didn't get the role, and was pretty bummed (particularly since - actors are nothing but petty - I didn't much like the performance by the guy who did). Six months later the casting director button-holed me after seeing another show I was in, and told me I'd been their first choice, and he was sorry they'd not been able to cast me. The trouble was, he said, their only good choice for Juliette was at least a foot shorter than I am, and there was no way that wouldn't have looked awkward.

It's never personal.

Furthermore, that "failed" audition directly led to two later jobs, and I think indirectly to a third. Having a good interview, even in a situation where you don't achieve the immediate goal, can only be good for you - both by developing your own skills, and for creating a reputation for competence within your industry.

Hey, my first "career" was also in theater!

Strong agreement. I can confirm for other readers that the day I realized this --- "Oh, rejection means nothing!" --- was a weird day. It takes a weight off.

And it is true across every other field. There are way more factors external to the "you" of the decision, and they're given more weight than the "you" of the decision. This is one of those cases where you only need to experience the "other side of the table" once for it to click.

Companies that are more humane in their hiring practices (even just actually send a rejection email vs. ghosting) deserve a bit of credit, because caring for the applicant is not a KPI.

Hey! Good to meet a fellow artist. I made it to 40 before I sold out. You?

One thing outsiders don't understand is that, for actors, auditioning IS the job. Getting cast, and working on a show, is a joy (some more than others, of course!), but the rest of your life is nothing, nothing but looking for work.

The were two things that made that "it's all cool" shift happen for me. The first is that once I'd been in the industry long enough I could pretty much guarantee that when I went in for an audition I'd see someone I knew, or at least with whom I had an immediate second-degree connection. Auditions stopped being a grind, or mainly about courting rejection - instead, they became an opportunity to hang out with some cool people for a while. I started looking forward to them!

The second was realizing that choosing and performing my audition pieces was the only time that I was in complete control. No one was telling me what to do or how to do it: I could make my own choices, and take whatever creative risks I wanted.

I think both of those approaches made me a much better auditionee than most. My batting average was a lot higher than most of my peers - even some that I thought were better actors.

I don't know how well those insights generalize. I've never (thank god!) had to do leet-code, but I'd hope that (though maybe only in a second screening?) taking a creative approach - if you can talk about it sensibly, and pivot if it doesn't ultimately work - would impress fellow engineers. I strongly believe that adopting a "what can I learn from this experience, and these people?" mindset is a good way to reduce the pressure you'd otherwise put on yourself.

> I made it to 40 before I sold out.

Do you mean you sold out in the arts or in the sense that you changed careers? If the former, I’d be curious to hear (well, read) the story since that’s not an admission one typically encounters.