Complaints about the creative brief that have nothing to do with the creative brief.

Small Fish With Ambitions Of A Big Shark - Business Concept

Complaints are often disguises. Each one is meant to hide a central truth, a truth that emerges only after you listen carefully to the rant. When the blame for some marketing shortfall lands on the creative brief, an easy target, the real culprit lies elsewhere.

Here are three of my favorites:

1. The creative brief is no longer relevant.

2. There’s something wrong with our creative brief.

3. If the brief isn’t great, the creatives will figure out the Big Idea.

I’ve heard versions of these whinings in conversations, in articles, and online. They’re all full of shittake mushrooms.

You don’t have to be a psychologist to understand what the real issue is. But I’ll play psychologist today and shed some light on these laments.

First: The creative brief is no longer relevant.

I hear this one the most. When I ask for elaboration, the line of thinking goes like this: There are too many platforms today (meaning social media and mobile) requiring different messages to reach our target consumer. The old models of advertising, like feature/benefit or information-based messages, don’t work in these settings. We have to change our approach…blah, blah, blah.

So look carefully. The complaint starts with the brief, but veers rapidly into the message, the communication. The bickering has nothing to do, in the end, with the brief itself. If you’re present enough in this conversation to stop and point this out to your interlocutor, the funny thing is: They agree with you!

It’s not about the creative brief. The complaint is about the work that arises from the creative brief!

Second: There’s something wrong with our creative brief.

I hear this one quite often. It always makes me laugh. I typically respond with this story:

Imagine you had the opportunity to visit the home of your favorite clothes designer, say Yves St. Laurent or Giorgio Armani. You walk into his personal clothes closet and look around. Even if it were empty, you have to believe the space itself would be impressive. walk in closet

But you don’t care about the closet, do you? No! You want to see what’s in it! You want to see the suits, the jackets, the material they’re made of. The shoes, the sweaters, the hand-made shirts. You want to see and feel and smell the quality around you. If you like clothes even just a little bit, you want to be surrounded by this genius’ creations.

So the creative brief is like a closet. It means nothing when it’s empty. It’s just a piece of paper with boxes or questions.

What we care about is the contents! The answers to those difficult questions. The clothes, baby! The clothes!

Stop worrying about the creative brief template. Even the worst template can dazzle if the answers to its questions are inspiring and thoughtful and engaging.

If you blame the template, you’re making an excuse for an ill-prepared creative brief writer. Please stop!

Third: If the brief isn’t great, the creatives will figure out the Big Idea.

This one hurts. This one clearly misses the point of the creative brief. It’s just plain wrong.

The brief, after all, is the first step of the creative process. It’s the first swing at solving the problem.

In other words, the creative brief is the Big Idea.

The creatives assigned to read it, work from it and be inspired by it deliver executions of the Big Idea. They translate the Big Idea into communications that sell. If the writers of the creative brief have stepped up, the heavy lifting has been done.

Abstract illustration concept for design

You know instantly when you’re reading a stellar creative brief. You can see how others are reacting. Look at their body language. Their wheels are turning. They’re asking questions. Talking about executions. They’re already working on the problem. They’re excited!

The opposite is equally visible. If the brief is uninspiring, everyone feels it. Or doesn’t feel it to be more accurate. Garbage in, garbage out.

Handing over an unfocused document filled with unfiltered thinking, lacking a compelling claim (the single-minded proposition), and passing the buck to the creative department to fill in missing information, disrespects the brand, the client, the agency, and all the people involved with making and selling the product.

We like to blame the creative brief for many ills, but we can’t blame it when the problem has nothing to do with the creative brief itself.

If old models of advertising fail, fix the models. We’re seeing this happen everyday. Brands talk about storytelling.

If you’re not getting the right information from you brief, remember: It’s a blank piece of paper until you fill it with questions. Change the questions if you must! But don’t blame the questions. Blame the answers!

If you don’t believe the creative brief is the repository of the Big Idea…well, maybe it’s time you found a different line of work.

No wonder you blame the creative brief.

 

Five truths every creative brief writer must face.

I offer these five truths about the creative brief that will help you take a successful first step of the creative process.

1. Collaborate, especially with creatives. Never write this document by yourself.

How many of you remember Steve Jobs’s Parable of Rocks? It bears repeating. This is Jobs speaking: Steve Jobs

“When I was a young kid there was a widowed man that lived up the street. He was in his eighties. He was a little scary looking. And I got to know him a little bit. I think he may have paid me to mow his lawn or something.

“One day he said to me, ‘Come on into my garage I want to show you something.’ And he pulled out this dusty old rock tumbler. It was a motor and a coffee can and a little band between them. And he said, ‘Come with me.’ We went out into the back and we got some rocks… some regular old ugly rocks. And we put them in the can with a little bit of liquid and little bit of grit powder, and we closed the can up and he turned this motor on and he said, ‘Come back tomorrow.’ This can was making a racket as the stones went around.

“And I came back the next day, and we opened the can. And we took out these amazingly beautiful polished rocks. The same common stones that had gone in, through rubbing against each other like this (Jobs clapped his hands), creating a little bit of friction, creating a little bit of noise, had come out these beautiful polished rocks. river rocks

“That’s always been in my mind, my metaphor for a team working really hard on something they’re passionate about.

 “It’s that through the team, through that group of incredibly talented people bumping up against each other, having arguments, having fights sometimes, making some noise, and working together they polish each other and they polish the ideas, and what comes out are these really beautiful stones.”

I know you’re thinking that he’s speaking about creative people: art directors, copywriters, digital folks, graphic artists and others. Maybe.

But think about the principle. Put an account planner, a creative and an account management person in a room together, and have them forge a creative brief as a team. Everyone has a stake. It’s not “You write it, I’ll work from it.” No. It’s a team effort.

Creatives have done this for decades. Creative brief writers should be doing it this way, too.

2. You must make choices. Less is definitely more.

The tendency is to cover your butt. You don’t want to accused of forgetting something. So everything is included. Nothing is excluded. Your brief is not brief.

Not everything matters. You must make decisions. The principle of “Liberating constraint” applies here. Box in your creative team with restrictions, rules, walls, the very things they detest. The result is creative freedom. This is the definition of the creative brief.

The creative brief is not a product encyclopedia. It’s the opening line of a brand poem.

3. Take a stand, and stand by it. You must be courageous.

If the Single-Minded Proposition (or the Core Idea, or the One Thing, or whatever you call it on your brief) does not spark a debate, go back to the drawing board and try again.

When it does spark a debate, relax. You done good. Now defend it.

4. If you’re really a professional, practice.

Gary Player, the South African golf legend, told this story some years ago.

Player was practicing sand shots out of a green-side bunker when a fan stopped by to watch. Player hit shot after shot after shot, each one landing softly on the green and rolling into the cup. After each shot, he heard his fan say the same thing, “That’s just luck!”

Player, clearly annoyed, turned to the man and with a smile on his face, said, “That’s right! The more I practice, the luckier I get!” Gary Player

If the only time you write a creative brief is when you actually have to write a creative brief, you’re doing yourself a disservice. And everyone else on the team.

Imagine if Gary Player hit a sand shot only when his ball actually landed in a bunker. Or if LeBron James shot a free throw only when he was fouled. Imagine if these two sports giants never practiced. You know what would happen. We would never have heard of them. They’d have been failures.

It’s your job to practice writing a brief even when no brief is required. You can do this anytime: On your commute. Waiting in line for coffee. In the dentist’s chair. Think about a product, an everyday item, anything. What is its Single-Minded Proposition? Who would truly use it? What insights can you conjure about this consumer? What are the obstacles to overcome?

These are simple mind exercises you can do at any time. You don’t have to put fingers to a keyboard. But you do have to engage your brain. It’s a muscle like your bicep or hamstring. Use it. Practice.

The point is to develop muscle memory. Do this for 30 days and you have a habit. A professional habit.

5. You have permission to be creative!

The creative brief is the first step in the creative process. I like to quote Sir John Hegarty here: The brief is the first ad. It doesn’t have to be great, but it must be good.

So don’t be shy. You are allowed, encouraged, to offer up creative ideas. I have seen them called “creative starters” on some briefs. They may lead nowhere, but if you leave them out, we’ll never know, will we?

Remember these five truths and you will write better, clearer, more inspiring creative briefs.

Why do you tolerate four or five rounds of creative revisions?

If you claim that you use a creative brief, yet you ask your creative partners to return four or five times—or more—with revised creative work, do you need me to tell you something is wrong with your creative brief?

Can’t you see the obvious?

This is the classic definition of insanity: doing the same thing over and over, yet expecting different results. error-code-18

Yet it is a story I hear regularly when I lead workshops on writing the creative brief. It is the most common complaint I hear.

I don’t need to see your creative brief template to know what the problem is. The template is fine. I promise.

Content. The problem lies in your creative brief’s content. You don’t have the right information. Or you have the right information, but it’s buried beneath too much useless, irrelevant information. Or your brief’s content lacks conviction, specificity, clarity. Or all of the above.

The creative brief requires you to put a stake in the ground. It requires you to make choices, to leave out more than you keep. Completing this document requires courage. It is an act of strategic reduction.

It is not a repository of everything you know about your brand. Instead, it is a reliquary of the bold and definitive argument for your brand.

Process. The brief itself may be only part of the reason why there’s a disconnect between a client’s request and delivered creative work. It may also be your creative briefing process. That process breaks down, becomes dysfunctional, if the document does not have advocates from senior management. If the process is not taken seriously, is treated as an afterthought, a necessary evil, you can count on multiple rounds of creative that miss the mark.

A broken creative briefing process is the author of the saying: “There’s never time to do it right. There’s always time to do it over.”

Consider this analogy:

When I played golf a lot, I learned to approach the par-5s backwards. Since I didn’t have the length off the tee to get to a par-5 in two shots, I always planned for a layup. Thus I asked: Where do I want my second shot to be resting? My answer was: about 100 yards from the pin. So if the par-5 were 500 yards, and I wanted my second shot to be sitting at the 400 yard mark, give or take, that meant my drive could be relatively short, say 240 yards. That would leave me with only 160 yards to get to my ideal 100 yard approach shot. (It’s called strategy.)

That is a lot less daunting than trying to boom out a 260 drive followed by a 240 yard approach. On my best day, a “once-in-a-lifetime” series of shots, I might pull that off. I parred a lot of 5s with my less-risky plan. Sometimes, I even birdied.

The point is this: If you don’t have a plan for the time it takes to do your projects, the best creative brief in the world becomes a useless piece of paper. And if the piece of paper doesn’t have the right, agreed upon information, with clear objectives and insights, no schedule will survive it.

To get the best work in the fewest rounds, you must have a plan. You must commit to a creative brief that works within a reproducible creative brief process. The creative brief is Step Number One in the creative process itself.

I would much rather hear a company tell me that they don’t use a creative brief. This, at least, presents an opportunity to inculcate a process that brings all players together around a common purpose: The brand.

When I lead workshops on the creative brief and I see an example of a company’s brief only to discover that it is a rote document with little or no original thinking, no insight, no inspiration, I am not surprised to learn that the creative work falls short. Not occasionally. Not once in a while. Always. Repeatedly.

It usually means a weak or non-existent creative brief process as well. One leads to the other. The two are inter-dependent.

Here, then, is some advice on how to repair or re-invigorate your creative brief and the process you establish:

Think misers. Social scientists tell us that we tend to be miserly when we think. Thinking is hard work, even for the likes of Albert Einstein. So we avoid it when it’s not absolutely necessary.Albert_Einstein_Head

Keep this fact in mind when you approach the creative brief. It is a document, and part of a process, that requires thinking. Serious thinking. The creative brief is part of the creative process, so plan for it. Build enough time into your production schedule so that its writers (more than one) can THINK about it thoroughly.

The creative brief should go through multiple drafts. More thinking! It is not the product of a committee, but rather a dedicated, small group (account, planner, creative), all stakeholders, who weigh in on the effort. One person should do the writing, but the other one or two must be good editors and BS detectors.

In the same way that art directors are paired with copywriters in the creative department, creative briefs should be produced by teams. Who think! Together!

This is current best practices.

No one practices writing the brief. Yeah, it’s a fact. No one writes a brief until they actually have to. Think about that for a second. Imagine if LeBron James didn’t practice a free throw or jump shot until he had to do it in a game.

Uh-huh. We’d have never heard of LeBron James. Like all exceptional athletes, he spends more time practicing than he does playing. He has to. Do you? practice

You can practice writing briefs without a pen, paper or keyboard. You can do it in your head. You may do it without knowing it. Ever watch a TV spot and wonder what they were thinking? Imagine, if you can, what the brand’s most important message is. Did the spot address it? Why or why not? If not, how would you say it? That’s creative brief-writing practice.

It’s also thinking, and this is where the social scientists’ term “think misers” comes from. You watch the spot, don’t get it, or wonder how they arrived at that idea, then stop thinking. It’s too much work. Besides, your show is back, so you can turn off your brain and just take in the entertainment.

Do it differently next time. Actually THINK about why that spot works or doesn’t work.

This is practice. It’s grooving your swing, so to speak. It’s forging creative-brief muscle memory.

Invite senior management to write a creative brief. Do this collaboratively. Loop them in as early as you can. Ask for suggestions. Give them a firm deadline. Move on if they miss it.

Even if you get a C-level exec to participate only once, you’ll remind them of the value of the process, or clue them into it if they’ve never done it before. This is how you acquire new stakeholders. This is how change happens.

Like all processes, they are slow to become instituted and slow to change. But when you recognize a broken process, address it as soon as possible. Your brand deserves it.

 

 

It’s better to think inside the box.

A killer creative brief is hard to write. It should be hard. It’s supposed to be hard. If it were easy, no one would complain about the dearth of good creative briefs. And creatives love to complain about bad creative briefs. complainer-657x360

Ergo, writing a good one is not easy.

Is that why so many are poorly written? Because expectations are so low?

Perfect, at least some of us have come to know, is the enemy of the good.

Many authors have been attributed to this line: “I would have made this letter shorter, but I didn’t have enough time.” Some credit Mark Twain. Others Cicero.

Constraints force us to make choices. The best of us respond to the challenge. Too often, the creative brief writer throws up his hands and gives in to the temptation to include everything for fear of missing something. As Oscar Wilde would say in response, “I can resist anything, except temptation.”

To write a killer creative brief requires courage, confidence and brevity.

Next time someone (your boss, the client, a weak-minded account type) encourages you to add more to your creative brief, make them talk to the hand. Then recite these three reasons:

1. Liberating Constraint.

Force yourself to keep your brief to one page. That doesn’t mean a two-page brief is automatically bad or wrong. It simply means you are conscious of the need to find the essence of a product’s message.

The concept is called “Liberating Constraint.” When you force yourself to be reductive, you open creative doors. When you agree to reside inside a self-imposed “box,” the experience frees you. There’s a ton of research to back this up. prison-bars-image

You are not writing a user guide. You are writing explicit instructions to the creative team. The brief is designed to give them a push, point them in one possible direction, spark their thinking.

The brief is the first step in the creative process. Get the creatives started, then step back and let them do their jobs.

Ultimately, this means you must make choices. You must edit. You must be selective. You must be, well, brief.

Your goal, always: One page.

2. Two pages: No! Two minds: Yes!

Whomever writes a creative brief is not weak of heart. You got game. You strut. Even if inside you’re quaking in your boots, you don’t show it. You gotta exude confidence.

This is precisely why writing the brief is never a solo project. You must collaborate. It’s not the work of a committee, but rather of a dedicated team.

Compare this process to what creatives do: an art director/graphic designer pairs with a writer, and the two of them play a kind of creative ping pong. Ideas bounce back and forth between them. Some are rejected, others are kept to explore further.

The creative brief demands the same dual-minded attention. You share responsibility for the document. You both take credit. Which means you also must accept blame for a poorly written effort.

Hey, creatives routinely present lame ideas. It happens. Truth be told, they are often the ones who know their best from their worst ideas. The difference between creative teams and brief-writing teams: Brief writers create a single creative brief. Creatives always present multiple ideas. Oh well. Get used to it.

3. When the brief-writing team includes a creative, creatives now have a clear stake in the process.

When account or planning folks were the sole proprietor of creative briefs, that essentially set up a “them vs us” mentality. It was a lot easier for creatives to diss an even moderately bad brief. Why not? They had no skin in the game.

Make a creative part of the brief-writing process, and all that changes. As it should be. Creatives now own a piece of the effort. And when a creative assists the account or planning colleague in the briefing process, fellow creatives quickly realize their brethren is on board.

It makes a huge difference.

Liberating Constraint is my main message here, which clearly covers points 1 and 2.  But point 3 is a benefit, and creatives by nature will help keep the brief-writing process focused and concise. Creative always exist inside a box of one kind or another: a :30 spot, a one-page ad, any communication with a time or space limit. These are all examples of constraints. how-to-expand-your-comfort-zone

Thinking “outside the box” has become a horrible cliche that means, well, I have no idea what it means any more.

Thinking “inside the box” means self-imposed limits. That’s a great definition of a creative brief. It’s no guarantee that the document will be well written, much less inspired. But at least it won’t take very long to discover that fact.

Practice Liberating Constraint whenever you write a creative brief. Force yourself to make enlightened, insightful choices based on your brand story. Your brief will be more inspired. And so will your creative teams’ work.

What all good single-minded propositions have in common.

Many years ago, about a week into a new job I’d taken as creative director on a major international brand, I was reviewing a creative brief that had been approved by the client and was the inspiration for a batch of new creative work that would be presented a week hence.

The brief was a disappointment. The single-minded proposition was a disaster. It was, rather than singularly focused, a triple-minded Frankenstein’s monster. I remember sighing audibly, then asking if it were too late to re-visit the SMP. 04

“The client really likes this one,” I was told. “But if you insist, we can set up a conference call.”

It was a battle worth fighting, but the timing was definitely wrong. I acquiesced instead.

It was not the first time I had read such a beast on a creative brief, nor the last. It’s no accident that when I started teaching college freshman English, I encountered the same apprehension and confusion around writing the dreaded “thesis statement” in a college essay.

The “thesis” and the “SMP” are two sides of the same coin: They are the hardest sentence/phrase to write and the most important statements in their respective vehicles. When done well, they are a thing of beauty and the inspiration for the rest of the document. When done poorly, everything else suffers.

Two thoughts can guide you here, with some inspired clarity from writer, philosopher, and painter, Walter Russell:

Mediocrity is self-inflicted. Genius is self-bestowed.

There is no reason for the SMP to be such an intimidating exercise. Like everything else we do as communication professionals, the more we practice a thing, the better we become at it. A few minutes examining what the really good single-minded propositions have in common reveals much for us to absorb and from which we can benefit.

First, let’s set the stage with a solid definition of the single-minded proposition.

My favorite comes from Jon Steel’s book, “Truth, Lies and Advertising,” when he quotes John Hegarty, the legendary creative leader at BBH in London.

Hegarty suggests that you write the single-minded proposition on a piece of paper, above or below an image of the product. The result becomes, in his words, a “good” ad, but not necessarily a great ad. The SMP, says Hegarty, is the “first ad.” I would amplify that definition by saying it’s the first draft of the first ad. The creatives use it as inspiration for what, everyone hopes, becomes the polished, final draft ad.

In other words, the SMP is the Big Idea. The creatives unearth Big Executions of the Big Idea, what we call creative solutions.

Here is some thinking from other advertising practitioners:

A proposition is the one-liner – usually rounding off the brief – that encapsulates the strategic thought that we’re asking our creatives to dramatise and bring to life as ads. Indeed, it is usually this one-liner that creates the most debate from all parties involved, as reductive thinking is inherently controversial.

Matt Hunt, European Head of Planning, Grey Healthcare Group

I had to think for a while to remember the last time I saw a pure proposition; one free from bullshit and extras, that simply tells you where to start digging…too many account teams and clients no longer understand what a single-minded thought actually is.

The Denver Egoist

Now, let’s examine a few examples of single-minded propositions for real products from real creative briefs. (Notice that all of these SMPs come from dated briefs, some more than 20 years old. It is notoriously difficult to pry a brief from the proprietarily paranoid…er…protective ad agency.) single_minded_1337085

Toro (circa 2010):

Toro makes the tools. You make the yard.

H&R Block (circa 2008):

Now you can have an expert on your side.

Izuzu Rodeo SUV (circa 1994):

The normal rules don’t apply.

AARP (circa unknown):

AARP gives you the power to make up your own rules.

Lexus GS300 relaunch (circa 1998):

The GS300 is the kick-ass Lexus.

These single-minded propositions have much in common, and much from which we can learn. I’m sure you’ve drawn your own conclusions after having glanced at the list above, so compare your list with mine. I have deliberately not presented the creative because I want your focus on the SMP, not the resulting creative.

The point is, unless and until you take the time to really examine these sentences and understand why they work, the SMP will remain an intimidating mystery for the person who has to write it, and an eternal source of ire for the creatives who must work from it.

1. It is often just a phrase, but never longer than a sentence.

Obvious, yes. But when you’ve suffered the slings and arrows of outrageous paragraph long, throw-in-the-kitchen sink SMPs, I hope you’ll see that the good SMP is concise. Obvious, yes, but not so obvious when you have to face your client. gleamingkitchensink

2. Its focus is always singular; it’s about one thing only.

Obvious, yes…again. Its called “single-minded” for a reason. Research repeatedly shows that consumers respond more readily to one, neat idea.

3. The best SMP is modest because it doesn’t need to be any more.

You’re not competing with the creative department. You’re showing them a starting point. Think about Hegarty’s definition: The SMP doesn’t have to be great, just good. The SMPs I’ve shared with you here fit that definition.

4. The best ones are fearless.

Like a college essay’s thesis, the SMP must take a stand. Once you realize that an SMP is not for public consumption, you operate from a place of freedom. Remember your audience: The creative department. They depend on you, the writer, to kick-start their thinking. If you’re not brave, you make it harder for them to be.

The SMP is the first thing creatives look for on a brief. Their body language is impossible to miss after they’ve read one. Obvious…yes?

Don’t settle for the mediocre. Practice combined with confidence creates genius.

 

Every creative brief needs to be dangerous and unpredictable

warning_sign_boldTypically, inspiration arrives unannounced, often from unexpected sources. So it was when I read Michael Dukes’s first professional blog post the other day on Medium. He wrote about how to inspire creative ideas. I tip my hat to a fellow creative and say “thank you” for your inspiration.

The creative brief gets the creative ideas started. At its most elementary, a creative brief is an eloquent, focused set of instructions. It can be written for an advertising agency’s creative teams, a small business owner’s marketing team, a firm that hires a couple of talented freelance ad people. Whoever works from a creative brief needs this document to find a spark of an idea that heads her down the right path toward a relevant, insightful creative solution that sells.

Thanks to Michael Dukes’s thoughts on finding those ideas, here are my own thoughts on how to inspire any creative person who needs the best set of instructions possible to achieve her objectives. Notice how similar the points are along both paths.

These four thoughts are minimum requirements before you even begin to write a creative brief:

1. Abandon your comfort zone.

If a creative brief is to succeed in inspiring its readers, it can’t be a rote document. Translation: Cutting and pasting from a previous brief is a mortal sin.

A brief is simply a template that asks for relevant information. If a template lulls you into a rut, change the template. Ask the same questions, but use different words.

If your brief template has 10 blanks to fill in, eliminate unnecessary questions and make the document work harder with fewer words (see #2 below). You could even ask additional questions, as long as they force you to become more deeply focused.

Who says you have to write only one brief per project? There is always more than one way into a creative solution. Creatives are required to present multiple ideas. Creative brief writers should be too. how-to-expand-your-comfort-zone

Don’t let the template become your prison. Change it regularly to keep it fresh. Creatives who read and work from the document won’t be expecting that. If creatives and account folks collaborate on writing briefs, this idea will be easier to execute.

2. Impose limitations.

This is a favorite mantra. The imagination works harder and more effectively when it is constricted. “Think outside the box” is a stupid cliche. Think not only “inside” the box, but make the box as small as possible. I’ve written about this before. I am likely to return to it.

The creative brief is a reductive exercise. Resist the temptation to fill it up with useless information just to make it seem weighty. How little information can you provide and still spark killer ideas? You’ll never know unless you collaborate with creatives to test your powers of conciseness.

Let this be a kind of “Goldilocks” creative brief test: Keep reducing and editing the document until it’s just right.

3. Make it a struggle (for the creatives, not you)

Tom Jordan, now retired as CEO and Chief Creative Officer at Hoffman York in Milwaukee, gave me some of the best advice of my career when I worked for him in the late 1980s. He said that good creative ideas draw the circle, but don’t complete it.

In other words, they leave just enough unsaid to draw the reader/viewer/listener into the story. You must trust their intelligence to figure out the rest. It’s harder to accomplish that it might seem.

This is excellent advice for creative brief writers, too. The brief’s job is to inspire the work, not do the work. Its purpose is to find the nugget of an insight that will open imaginative doors for creatives.

A good brief makes the creatives grapple with new thinking, not by burying them with useless information, but by handing it to them in an unfinished state.

Easy? No. That’s demonstrated in the dearth of well-written briefs. Don’t let that frighten you.

4. Expectations are low, so you have nothing to lose.

If you’re old enough to remember the comedian Rodney Dangerfield, you recall his famous line: “I get no respect.” He speaks for the creative brief. It’s a document everyone loves to hate. Sad, but true.

DSez300_400x400So change that. Start by teaming up: one creative, one account person. Everyone must have skin in the game. Make a pact to raise the bar on expectations. The way to think differently about the creative brief is to, you know, think differently. The process has to begin somewhere.

Why not you? Why not now?

This isn’t rocket science. This is about fundamental insights and clear thinking, two attributes that all communication professionals possess in abundance.

Dangerous and unpredictable creative should be everyone’s goal. Start with a dangerous and unpredictable creative brief.

What creatives can contribute to writing a creative brief

Writing a creative brief should never be a solo practice. It must be a collaborative process. This is not the same as creative-brief-by-committee, but it should be a team-assembled creation.

I confess that when I was a practicing copywriter, even a young creative director, I rarely worked with the account management or account planning teams to chisel out a draft of a creative brief. Only later, after I’d written an early draft of my book, did I offer to work with those lonely souls who wrote briefs.

If I were starting my career today, knowing what I know about the challenges of writing a great creative brief, I would do things differently.

That’s why I have compiled this list of what advertising creatives can contribute to the process of writing an inspired creative brief.

Whether you—copywriter, art director, graphic designer, creative director, web content manager….the list is long—are a novice or the senior player, you have something at stake in the outcome of the creative brief.

1. Step up. Don’t wait to be asked.

If you are a senior-level creative (creative director or higher), you probably already collaborate with your account brethren on the brief. If you don’t, shame on you. Start today. Volunteer-Hands-Large

If you are anywhere else on the ladder of experience/responsibility, from novice to mid-career and you do not work with your account team on the brief, start now. This is not only a great team-building exercise, it is a career-enhancing practice.

Take ownership with your account person of the brief-writing process together. Volunteer to help, even if it starts out as just proofreading the first draft. I guarantee that any offer to help will be accepted with enthusiasm. The more sincere the offer, the more likely you are to learn and play an influencing role.

You, the ad creative, already know the value of working with a partner (your art director or copywriter) to produce better work. The principle holds true with the writing of a creative brief. You might just use this idea if your account team member resists.

Art directors, don’t shy away because you’re not a writer. If you’re a good thinker and conceptor, you have honed your BS detectors and can see faulty thinking when you read it. My best art director partners over the years played this role with me. They admitted that they couldn’t write a headline, but they knew a bogus idea when they saw it.

2. Ask questions first.

I have little doubt that an account person whose responsibility includes writing creative briefs will turn down your offer to help. But there might be some skepticism, especially if there is any tension between the account and creative departments. You’ll know whether this is true or not in your agency or place of employment.

If there is some tension, start your collaboration from a place of honest inquiry. Ask questions about how your account co-worker approaches the creative brief. Use the Socratic approach: each question can be followed by another question as you figure out the process.

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I suggest this as a way to gauge the reaction of your co-worker and especially as a preventive measure. The last thing you want to do is make pronouncements and sweeping statements, or worse, accusations about weak past creative briefs.

Your job here is to turn your expressed interest in collaborating into a workable and successful team effort to produce killer creative briefs. Rome, as they say, was not built in a day. Take it slow and easy.

3. Brief the creative team with your account co-worker/brief-writing partner

Trod new ground. Typically, it is the account team that briefs the creatives. Why not break the mold and brief together? You worked on the process with your partner. Ergo, you have insights from the experience of sculpting the finished draft.

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Not only does this adaptation of the briefing process communicate a common stake-holding position, it demonstrates to both teams—account and creative alike—that the partnership is serious and sustainable.

One of the best pieces of advice I ever received on how to shake up my thinking when I get into a creative corner was to stop and turn everything around 180 degrees. Look at your challenge from a completely fresh perspective.

Briefing the creative team as a creative representative of the creative-brief writing team will make everyone see the process differently.

4. Reciprocate

Invite your new creative-brief collaborating account co-worker into your creative space and show her early drafts of your ideas. Talk about how your thinking, based on this brief you worked on together, sparked the ideas you’re experimenting with. Ask for feedback. Talk. Question. Listen.

Most importantly, collaborate. Or rather, continue the collaboration you started when you were writing the creative brief.

The idea here is not so much to blur the lines between account and creative. That’s not truly going to happen. It’s to synchronize the thinking process between the key players.

If you literally start on the same page on the same day of a new task—writing a creative  brief together—you are far less likely, it seems to me, to get off track later on.

 

4 steps to writing an inspiring Single-Minded Proposition.

When I was a kid back in my hometown of Milwaukee, I loved basketball. Around the age of 13 I attended a week-long basketball camp hosted by the legendary coach of the 4641939331_0fee32dc15Marquette Warriors, Al McGuire. Coach McGuire put us through drills morning and afternoon before we had scrimmages after dinner.

It was grueling work, but when you’re a kid, it was just plain fun. Non-stop basketball. I loved it.

Looking back on that experience, I understand why we spent so much time practicing fundamentals: dribbling, layups, free-throws, jump shots. And running. Back and forth. Back and forth. I can still hear the sounds of pounding feet and squeaky sneakers on the polished hardwood courts.

These days, I teach Freshman English at community college in Los Angeles, which means I teach students about how to write an essay. If you think back to your days as a student, you might recall that the hardest part of an essay was the thesis statement. After more than 25 years as an ad copywriter and creative director, reading and working from creative briefs, the first thing I discovered about teaching students how to write a thesis statement was the remarkable similarity between it and the creative brief’s most challenging box:

The Single-Minded Proposition.

The essay’s thesis statement and the creative brief’s Single-Minded Proposition (or One Important Thing or Key Message or whatever you call it on your brief template) essentially work the same kind of magic: They tell the reader the point.

In an essay, the point is, What is your argument?

In a creative brief, the point is, What is the compelling reason why anyone wants this thing we’re selling?

It’s the hardest part of the creative brief to write because it carries so much weight. It’s typically the first thing a creative looks at when the briefing process begins. It is, as John Hegarty says, the first ad.

So what can be done to make this impossibly vital and important little sentence just a bit easier to write?

Go back to fundamentals.

Always, always, always: Go back to fundamentals. Whether it’s in sports or college writing, when you return to basics, you return to the things that help you develop mastery. layup-00

The reason why the Single-Minded Proposition is so difficult to write is that, like a thesis statement, it is entirely subjective.

It is an opinion.

Which means it has to express some point of view. And someone may disagree with it.

Don’t be intimidated. The Single-Minded Proposition springs from the product itself, so your opinion will be based on fact.

Here, then, are four basic steps on how to arrive at a good Single-Minded Proposition. Remember, as the first ad, in Hegarty’s words, the Single-Minded Proposition does not have to be great.

1. Identify the product’s most important features.

Every product (or service) has a feature. It is one of the aspects of the product that makes the product what it is. One feature of any Apple product, for example, is the intuitive nature of the software. It is easy to use. It’s why a toddler can pick up an iPhone or iPad and start using it without a manual.

2. When you identify the important features, figure out each feature’s benefits.

In other words, why does anyone care about this particular aspect of the product? Why, for example, does Apple’s intuitive software matter? Who cares? What’s in it for me, the user?

Yes, this is very basic stuff. When you figure out the product benefit, you’re halfway to figuring out a Single-Minded Proposition.

I say halfway because the leap from product benefit to Single-Minded Proposition is not direct. It is not literal.

The product feature talks to your head. The product benefit talks to your heart.

3. One of those feature/benefits will be the compelling reason to make a purchase.

Focus on the word “Single” in the Single-Minded Proposition. No matter what the product manager or senior marketing executive at your client says, the product you’re selling is not a “unique package of features,” a term I have heard repeatedly. The best communications are focused messages telling a story about one thing.

This may require some discussion, but you must agree on only one of the items on the short list of feature/benefits. This one will be your candidate for Single-Minded Proposition.

Like all good writing, a Single-Minded Proposition will probably not appear on your first try. Write many drafts. Be more daring with each try. Which leads to the final step:

4. Try the Times Square Test

When you have a draft of a Single-Minded Proposition, give it this test: Imagine you’re standing in the middle of Times Square at 11 PM on a Saturday night. If you’ve ever been there, you know it’s a sea of people, mostly tourists. timessquare

Now imagine you are standing on one side of Broadway and the person you think is the ideal purchaser of your client’s product is standing on the other side of Broadway. If you yelled your Single-Minded Proposition at the top of your lungs and your ideal purchaser heard you, would she get it? Would she understand the reason to buy this product?

You get only one shot at this test. And you have to be honest—with yourself. If you think the line communicates the compelling reason to make the purchase, you probably have a good Single-Minded Proposition.

There’s one caveat: The Single-Minded Proposition can be off-the-wall and outrageously over the top. It’s not meant for public consumption, but rather to inspire your creative team.

As the creative brief writer, your task is to deliver the most inspired and inspiring document you can to your creative team or teams.

That job is hard. Stick with fundamentals. This is how you develop mastery.

What makes a creative brief writer?

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Two thousand fifteen marks my 30th year in the advertising business. I put in more than a quarter century at ad agencies and corporations. The last few years I’ve devoted to writing, teaching and waxing philosophic about the creative brief, clear writing and critical thinking.

My job as a creative was to work from a creative brief. I’ve written more than my share of creative briefs, but only because I had to, and because I was the de facto expert. My training in writing briefs comes from the U of Getitdone. That and having read a lot of briefs, and I mean a lot. I’d estimate, conservatively, that I’ve read over 2,000 creative briefs in my career.

So I may not qualify as an “trained” account planner with the necessary background in statistics and analytics, but I think I can hold my own with the best of the best.

Which leads me to two questions: What does it take to be a writer of an inspired creative brief? Who is most likely to possess the necessary qualities?

(By the way, Jon Steel has a wonderful video on YouTube about what he values in a good account planner. I tip my hat to him for inspiring this post.)

My list is short: Courage, curiosity, optimism.

Courage. As I have written elsewhere, the writer of a creative brief has the enormous task of writing the first adCourage_is_contagious

John Hegarty gets credit for this thought. He also says that the first ad doesn’t have to be a great ad, but it must be good enough to spark a conversation. So courage is a requirement because the creative brief writer must take a leap of faith. She must possess the steadfastness of her convictions. It’s an enviable quality. It’s an absolute must.

Curiosity. You can be short of life experience but make up for it by owning an insatiable wonder about the world around you. As a creative for my entire career, I always thought of the ad business of one of the few careers that demands that you be a Renaissance Man/Woman. You must have broad interests and the capacity to learn about new things almost daily. Curiosity fuels this capacity. Your curiosity as a brief writer also fuels the curiosity of the creative team.cat-art-print-17-x-17-unframed--[2]-33278-p

Optimism. This may seem obvious. I don’t think you can succeed in the ad business as anything but an optimist. It is especially true of the creative brief writer. You must have absolute belief in the power of words to shape an outcome. You must believe in yourself to shape those words. You must believe in the process that results in an inspired creative brief: The acquisition of insights about human nature that, when reduced to their most clarifying elements, inspire big thinking. You must believe this.6e520b24c7f2022e3e60feb9b59d15aa

So who possess these attributes? Merlin. Gandhi. Dumbledore.

If you are a risk taker, love a challenge, do not accept anything less than excellence, I’d say you are likely to succeed.

If you view each creative brief writing assignment as an opportunity to push the creative team to break new ground, you have a skill others will covet.

Live long and inspire, with apologies to Mr. Spock.