Why “I” is better than “we” on a creative brief.

After years of preaching that the creative brief is about the content, not the template, I’m about to commit heresy. I’ve changed my mind. But only a little.

The creative brief template is just a set of questions, sometimes statements, requiring thoughtful responses. Emphasis on the word thoughtful.

Now I think that is not enough. Here’s why: The creative brief is, in the end, for the creatives. It’s meant to inspire them to creative brilliance. That part hasn’t changed.

The creative brief is also meant to be an inspiring document for the entire team to rally around. The “team” could be on the client side or the ad agency side.

But let’s look at the discipline from which the creative brief springs: account planning. At its most basic, account planning speaks for and embodies the consumer. The thoughts, feelings, aspirations, hopes, needs and wants of the human beings who buy the stuff we sell. The creative brief, therefore, addresses what we know about them.

So what if we changed the nature of the template to reflect this reality? I’ve seen hundreds, maybe thousands, of creative brief templates in my career. A tiny fraction do in fact take this approach. The vast majority do not.

What kind of change am I speaking of?

An adaptation, not a wholesale revision. A subtle, but significant, shift in thinking.

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We need to introduce, or re-introduce, the first person “I” into the creative brief. I’ve seen plenty of briefs that use “we.” This is not the same thing.

The brief, after all, addresses the customer. The brief talks “to” the creative team, of course, but it’s “for” the customer.

Here are the questions I use on the creative brief template I teach in my workshops.

  1. What is the problem we’re trying to solve?
  2. Why are we communicating?
  3. Who are we talking to?
  4. What’s the background?
  5. What is the single-minded proposition?
  6. What’s the proof that the SMP is true?
  7. What is the key emotional benefit?
  8. What do we want people to feel after seeing the communication?
  9. What is the desired tone and mood?

These are the basics. I exclude things like budget, media, mandatories, copy points, approvals. Those things tend to be straight-forward. These nine questions require thought. (Some of you may wonder about the difference between #7 and #8. There is a big difference. You’ll have to attend my workshop or read my book to understand my thinking).

So what if we made a subtle change from first person plural (we) to first person singular (I)? How would this change the way we think about both the brief and the work it produces?

Let’s try it:

  1. Why are you bothering me with this communication?
  2. Why should I pay attention to this communication?
  3. Show me how well you know me.
  4. What do you know about me that I may not know about myself?
  5. What’s in it for me?
  6. Why should I believe you?
  7. Why is this important to me at a gut level?
  8. How will I feel after I’ve seen this?
  9. What am I supposed to feel about you?

Notice how I connected #8 and #9: they are meant to confirm each other.

In fact, if you look closely, using the singular first person connects many of these questions in a way that the royal “we” does not. It makes the brief feel more intimate. It’s less a brief and more a letter that requires…honesty, authenticity, truth.

Notice as well that #3 is no longer a question. It’s a statement. Actually, it’s a taunt, so it’s question-like. I could have phrased it, “How well do you know me?” But that’s not open-ended.

I like where this leads. I think it shifts our thinking from what “we” want to what our customer wants.2017 customer strends

I’m counting on you to revise and edit this further to suit your particular situation. I’m sure you could hone my questions to make them even better. Whether you adopt these question on your brief or not, I hope they make you think about how you craft this document.

It’s not a form to be filled out. It’s a thinking person’s document.

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.

 

 

When your creative brief process is broken and how to fix it.

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Beginning writers tend to learn a lesson about plagiarism the hard way. They commit it unintentionally. They didn’t mean to quote an author without giving him or her due credit, but…

Unintentional plagiarism, I can attest from years of classroom experience, is the most likely kind of plagiarism a college freshman blunders into. The problem is, it’s still plagiarism and they still fail the paper.

The analogy works for a broken creative brief process. The participants, whether they’re in an ad agency or the marketing department of an advertiser, often have no idea their briefing process is broken. They didn’t mean to mess it up, but they did. Something isn’t right, and they keep chugging along hoping to muddle through.

It’s not unlike the definition of insanity: You keep doing the same thing over and over and hoping for, well, you know the rest.

So how can you tell when your briefing process is broken? What are the red flags?

Look for these four warning signs. In fact, if you recognize even only one of them, it’s time to address your creative briefing process before it does, in fact, break.

You Know It’s Broke When:

1: The people who work from the brief roll their eyes after it’s presented.

That’s an exaggeration. The people who work from the brief, and this is the creative people, are a difficult lot to begin with. They love to complain: about bad briefs, bad coffee, bad shoes. They complain because it’s in their nature. They tend to be jaded and borderline cynical. Okay, forget borderline.

They complain about bad briefs, especially, because they read them so often. They may in fact respond to any brief with an exasperated sigh. It’s reflexive. They can’t help it.

But if this happens frequently and is followed by a rush of questions of a certain nature, you’re in trouble.

These questions tend to look like this:

“I thought you said we couldn’t…”

“Are you sure you mean it this way? Last time you said…”

“Why is this okay now? Last month…”

“But I thought they hated (insert color/celebrity/location/idea)…”

“Wait a minute. That single-minded proposition has two/three/four ideas. Which one do they really mean?”

2: The parties do not agree on content.

You Know It’s Broke #2 is a subset of #1. Even if you can satisfactorily answer all the questions posed by your creatives after the briefing, you may not have a salvageable brief.

Those questions—and the underlying attitude of skepticism—tend not to be addressed to anyone’s satisfaction, and are a symptom of the broken process.

The fundamental premise of the brief comes into question. One of two things can happen.

First, the briefing ends in disagreement and creative go off and write their own brief, even if it’s not a formal document. They devise their own Single-Minded Proposition and that becomes the brief.

Sometimes this actually works. But you won’t know it even happened until the day the work is presented. If the work does not meet expectations, the Creative’s Creative Brief Syndrome is typically to blame (that’s my fancy term for the creative department’s DIY brief. Which you don’t want).

I know. I’ve committed this heresy myself, although only a handful of times. I’d say my batting average was above .500. That’s exemplary if you’re in the Majors. It’s horrible when you bomb in a creative presentation.

The second scenario, and the more likely outcome, is that the creative team leaves the briefing confused, and that’s what the work looks like when it’s presented. It’s a perfect illustration of “garbage in, garbage out.”garbage-in-garbage-out

These situations are why I wrote my book on the creative brief. It was the result of feeling utterly frustrated because my creative department operated either without a formal brief altogether, or we functioned with a brief that one or more players did not fully embrace. Any process is only as strong as its weakest link.

3: Only one player in the process writes the creative brief. This situation will almost always guarantee Reasons 1 and 2 above.

You Know It’s Broke #3 stands independent of the first two. It’s a symptom of old-school silo-ing, a tradition that dates back decades.

The creative departments of major ad agencies know first hand about the silo effect. In the 1950s and into the 1960s, most creative departments did not have “teams” of art directors and copywriters. They were separate departments. The did not talk to each other.

Geniuses like Bill Bernbach changed that. Copywriters and art directors were teamed up and expected to work together. The results played a seminal role in producing the Golden Era of advertising in the 1960s.

silosAccount and brand planners have wised up in recent years. They have been moving away from working independently as the owners of the creative brief and have advocated for cross-department collaboration. The principle that works so well in creative departments applies here.

If the author of the creative brief in your place of business works alone, even if she works with a partner in the same department, chances are you have a broken creative briefing system, or one that is sick and needs 911.

If creatives have no role in the process, they have little at stake. If they collaborate on not just writing the brief, but then also play a role in briefing on the brief they helped author, things change. Drastically and dramatically.

4. The reviewers of the creative work don’t know how to review the creative work.

The ability to offer clear feedback on the creative work is an absolute job requirement. There is no excuse for being inarticulate or afraid to hurt someone’s feelings.

Rest assured, advertising creatives are professionals. They have thick skin and can take criticism.

Still, being a critic is not easy. It takes finesse, patience and practice. Especially practice.

So I recommend that you practice. A lot. You don’t become adept at writing a creative brief by doing it once. Or even 10 times. You must write them dozens of times and even then you’ll learn something new with each attempt.

Find a piece of creative work not connected to your job or your brand. It could be a TV spot or an email.

Critique it. What do you like? What doesn’t work? Make a list. Write down your thoughts. You don’t have the creative brief against which to judge it, so use your savvy as a consumer.  You are, after all, a consumer.

Team up with a creative in your department or at your agency. Work one-on-one with a piece of neutral creative (meaning something neither you nor the creative is connected to) and ask questions about how to review it. Believe me, your creative partner will have some thoughts and won’t be afraid to speak them out loud. This is a learning opportunity for you.

The point is, the only way to become proficient at reviewing creative is to review it.

Remember the old joke: How do you get to Carnegie Hall? Practice, practice, practice.

Step back and ask yourself some tough questions about your creative brief and the process of briefing. If you suspect any one of the symptoms I’ve discussed above, it’s time to reexamine your process.

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 “Finding Dory” can teach us about brand insights

Two disparate worlds collided this weekend that produced an insight. This is supposed to happen to people like me who use insights for a living.

First, I read contributing Atlantic editor David H. Freedman’s thoughtful piece, “The War on Stupid People” in the July/August issue. He tells us that the lack of intellectual chops, otherwise known as being stupid, has become the new acceptable put down. “Those who consider themselves bright,” he writes, “openly mock others for being less so.”

This practice is reinforced in corporate America. Many companies, Freedman tells us, are implementing new intelligence tests for potential hires. If you don’t measure up, it becomes a mark against you, and a reason not to make an offer of employment.

This in spite of the emerging evidence that smart people do not necessarily make the best employees. Something about having little experience with failure and thin skins. Interpersonal skills, self-awareness and emotional qualities, Freedman writes, can be better job performance predictors.

Perhaps his most astute observation is this: “Among other things, the less brainy are, according to studies and some business experts, less likely to be oblivious of their own biases and flaws, to mistakenly assume that recent trends will continue into the future, to be anxiety-ridden, and to be arrogant.”

The sad fact is, the minority of Americans who are in this intellectual elite influence the world for the rest of us.

Then I went to see the Disney/Pixar blockbuster, “Finding Dory.” It was not on my “must see” list, but after reading so many positive reviews, I relented. It is that rare combination of laugh-out-loud entertainment and serious message vehicle. As a college educator, I was reminded to take its message into my classroom everyday. Finding-Dory-Disney-pixar-2016

But as a brand strategist and storyteller as well as a creative brief educator, I saw another message. Advertising professionals take data and research seriously, as we should. What we learn from the things consumers tell us as well as what we discern from their unconscious (i.e. body language) behavior, lead us, or so we hope, to a valuable insight, maybe even more than one. The kind of insight that makes tailoring communication to persuade them to try and/or remain loyal to a brand.

That’s the theory, anyway.

I left the theatre while the credits to “Finding Dory” were still rolling, and I couldn’t help but laugh to myself. The central question posed in the movie is the very question we brand guardians must ask to guide us in finding the insights we covet.

Before I get to that question, here’s a brief synopsis for those of you who have not yet seen this charming, heart-warming and outrageously funny tale, which incidentally also made me cry.

“Finding Dory” is a sequel to the popular “Finding Nemo” that came out in 2003. Its premise is that a year after Dory, a fish with short-term memory problems, helps Marlin find his son, Nemo, she remembers she has parents and sets out to find them. Marlin and Nemo go along to help. Thoroughly engaging mayhem unfolds, and it is no “spoiler” to tell you that in spite of her clear deficiencies, Dory finds mom and dad. It’s how she manages this feat, and what she learns that make this adventure so memorable.

Back to the question: At one point in the movie, when Marlin and Nemo get separated from Dory, the two struggle, momentarily paralyzed with inaction. Nemo poses the question, “What would Dory do?” to help his dad figure out the next move.

At first, papa Marlin assumes the intellectual approach and begins to analyze and synthesize the situation in order to ascertain a strategy. Until he realizes that’s not how Dory operates. Dory’s lack of conventional intelligence, which might be classified these days as a developmental disability, gives the lie to her abilities.

Marlin has his “Ah-ha!” moment and decides to take a leap of faith, Dory-like, to keep the search for Dory, and the story line, moving.

It is both this question and its answer, combined with Freedman’s observations about so-called intelligence, that produced my own “Ah-ha!” moment.

Finding a brand insight is a hard thing to do. There are no guarantees that intrepid digging will uncover anything remotely insightful. But this guarantee is, well, guaranteed if you stop at data and research.

A brand insight comes, not from brainy application of intelligence, but rather from what I’ll call the “Dory effect”: trusting your instincts and allowing intuition to rule.

By this I do not mean to ignore data and research. On the contrary. Remember the advice of James Webb Young in his 1948 masterpiece, “A Technique for Producing Ideas.”  When you are in the creative zone of the five steps Webb outlines, you eventually arrive at step 3: information overload requires you to walk away and clear your head. By this moment the seeds have been planted. But only at this moment can they bloom into an idea. techforproducingideas1

This is the answer to the question, “What would Dory do?” It is the leap of faith Dory took from the moment she decided to go on her parent quest. It is the foundation on which rested every decision she made along the way.

It is the foundation on which insights arrive, too. I say “arrive” because I believe the intuitive, creative mind is more likely to be receptive to an idea than one grounded only in data- and research-based analysis.

No one “uncovers” an insight. An insight emerges after information is processed and left to settle, and then sparked by the intuitive brain.

Date and research are the nutrients. Intuition is the blender.

The next time you are in the hunt for a brand insight, don’t forget to ask:

What would Dory do?

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.

 

50 years after its invention, the creative brief needs some fixes.

The creative brief dates to the early 1960s when account planning was introduced to the advertising world by a Brit named Stanley Pollitt. This year marks the 50th anniversary of the creative brief. Its role in developing great advertising deserves recognition and, no disrespect intended, a review. All good things can be improved.

As both an admirer and advocate of the creative brief, I offer a small gift to this document’s long history: Some ideas to make the creative brief better.

1. Consumers make decisions about brands based on their feelings, not their brains. The Single-Minded Proposition must reflect this truth.

This is an insight that is not new, but is slow to be embraced. Some account planners and academics have been writing about this topic, and I have written about it without being fully aware of the research. Professional experience, however, is hard to ignore.

Too often, we accept single-minded propositions that focus on rationality, on a mistaken belief that people make decisions based on facts and evidence, that we act reasonably. The process humans follow to arrive at a buying decision is sloppy, filled with irrational thinking, often contrary to our own best interests. Branding would not exist as we recognize it today if it were not because of this odd path we take before we open our wallets.

We must, therefore, change the way we view the core of the creative brief—the single-minded proposition. Some argue that the “single” nature of this idea is a relic, and there may be some truth in that, but I believe the most important argument here is the missing, or under-representation of, emotion. faces-small

It’s a scary thing to place so much weight on a hard-to-measure part of human psychology. The good news is, measuring emotional responses is actually getting easier, and more social scientists are exploring it, with fascinating results.

Advertising driven by direct appeals to emotion also works better. It is often more engaging, more humorous and more memorable. Refer to the link above for evidence and its nearly five pages of references.

The single-minded proposition is dead, as I suggested in a recent post. It must be replaced by an updated single-minded proposition that embraces the human nature of decision making: The messy, dynamic, more trustworthy emotions that make us who we are.

Just ask any creative. She knows from experience.

2. Creative brief writers must become better writers.

We must all become better writers, but this is especially true for communications professionals.

Please don’t mistake this as a plea for better headline writers. Anyone can write a headline. For proof, visit a parking lot and see how many clever personal license tags you can find. writer-1-300x300

Good, clear writing is a direct result of good, clear thinking. The creative brief is the first step in the creative process. It is the first ad written for any new communications project. It is the inspiration for the creative team. It must carry this weight with grace.

A poorly written creative brief is uninspiring for one reason and one reason only: Lack of clarity.

Contrary to conventional wisdom, lack of clarity is not, repeat not, because the brief fails to offer “outside the box” thinking, a term that has become meaningless; worse, it is simply dumb and wrong.

Lack of clarity means incoherent, unintelligible, not particular. It means fuzzy, blurred, unsharp. Good writing makes ideas coherent, intelligible, particular. Good brief writing makes coherent ideas sizzle.

Creative brief writers must be dedicated practitioners of the art of clear writing, first and foremost.

3. Collaborate, collaborate, collaborate.

Less is more does not work in this space. Creative teams are called teams for a reason. Isn’t it about time we initiate creative brief teams?

If you have a stake in the outcome, you vest yourself. It’s time for creatives to take an equity stake in the document they love to loathe.

4. Re-new your vows to the creative brief.

I came across a blog post from a thoughtful account planner who suggested that the creative brief had outlived its usefulness and that in its place, clients, agencies and creatives should substitute a freer, uninhibited approach to producing creative solutions: A kind of “divergent thinking meets convergent thinking” informal brainstorming session.

I found myself shaking my head for the nth time. Someone is always trashing the document when the problem, in fact, is the content and the content’s originators.

No matter who complains about the creative brief, the complaint is rarely different: It doesn’t inspire enough. It doesn’t propel good thinking enough. It doesn’t work hard enough. It doesn’t do something quite enough.

To my thinking, this misses the point. The document is simply a place holder. It is ultimately only as good as the answers its questions provoke. Asking better questions might help, but that is the easy part. Producing better answers is my response, and it is definitely the hardest part.

Don’t blame a poorly imagined story on the document in which it resides. Look at yourself, the story teller.

transmutation_circle_part_1_by_orbita2k2-d5mkp26Renew your vows to this instrument of inspiration. Believe it can perform alchemy and it will. It is a blank space awaiting…

 

How to recruit a creative to collaborate on writing a creative brief.

It never made any sense to me that an account planner or account management executive would write a creative brief on his or her own. Yet it’s not uncommon. It’s also a mistake, one that many ad agencies are addressing.

If your agency or marketing firm is not one of them, allow me to suggest three steps you can take to recruit a creative (copywriter, art director or creative director) to be your creative brief-writing partner. I don’t mean a one-time team up. I mean a long-term partnership.

Creatives have had collaborating partners for decades. No one comes up with ideas in the vacuum of solitary effort. The results of creative collaboration reveal themselves daily in ad agencies and corporate environments all across the globe. You, the creative brief writer, must join the party.

1. Find the creative who complains the loudest (or most quietly) about the creative brief.

Before you make your approach, stop and listen. At your next briefing session, pay attention to who dislikes the brief you, or one of your colleagues, present. complainer-657x360

Be careful: The creative who likes a brief least may be the one who says nothing, but sits sullenly and steams. You may have to attend many such briefing sessions to figure out the most likely creative. You may know already without having to think about it.

Believe it or not, hhis is your best collaborating partner.

Understand, some creatives love to complain. They may never be happy with a creative brief. We see so few truly well written briefs that another bad one, even a mediocre brief, merely lives up to expectations.

When you find the right creative, the one who seems like the least approachable candidate, you have to have a plan.

2. Ask this “least likely” creative candidate what she hates the most about your creative brief.

Get your creative to commit to telling you exactly what he/she likes and dislikes most about the creative briefs you’ve written. If you work with the creative, you may already have heard these complaints.

No matter. Ask again. Ask with seriousness. Be proactive. Don’t wait to here complaints. Ask. Expect a clear, direct answer.

My guess is, you’ll disarm this creative by simply asking the questions.

But don’t ask “What would you have written?” kinds of questions. You’ll put the creative on the spot. They may or may not have a good response. Instead, ask process questions: What can I do to arrive at better answers? How could I frame the responses so you get more out of them? Do you have examples of briefs you thought were well written so I could study them?

Your preparing the ground for your ask. You’ll get a sense of how serious this creative is about a the brief, and whether or not the complaints you hear reflect a passion for the process or this creative is simply complaining.

You want to work with someone who cares about the process. Not every creative does.

3. Don’t ask for help. Challenge.

You’ve prepared your ground by asking pertinent questions that will show your creative colleague that you’re interested in making improvements.

Don’t ask for help. Challenge your creative to solve a problem. 30-Day-Challenge-Soldiers1

Creatives, after all, are problem solvers. You are too, of course; that’s why you chose advertising as your profession. But creatives define themselves by those two words. A creative is far more likely to step up if he knows there’s a uniquely difficult problem to overcome.

And remember your objective: To establish a collaborate partnership for the long term. To tap into a creative’s unique insight into the creative process to help the agency deliver selling (and award winning) creative solutions.

There won’t be a learning curve. Creatives work from briefs regularly and know the drill. But getting them to sit with you in the “fill in the blanks” stage will pose a new kind of puzzle for most creatives. Many may claim to have “re-written” lots of creative briefs in their time. This will tell you who’s speaking the truth and who’s blowing smoke. Once they face the pressure of committing words to these difficult questions, they’ll quickly learn what’s at stake.

One last suggestion:

Once you find your creative-brief writing collaborator, insist that he or she briefs the creative team with the brief you wrote together.

Why?

It’s about putting her money where her mouth is. When she sees how her fellow creatives react to a brief she co-wrote, or at the very least on which she collaborated, this will communicate to her creative colleagues that she has some skin in the game. It speaks loudly and clearly that your creative collaborator owns (or co-owns) this brief.

It’s called street cred. You’ll get some. The briefing process will get some. The work will get it.

Creative partnerships work. Art directors and copywriters function as teams because together they produce better advertising. Decades of experience proves this.

Creative brief writing must adopt this team-based collaboration now. You can take a step toward this goal. Use these three steps to find, approach and partner with the right creative colleague to make your next creative brief truly inspired.

If you can’t explain what a creative brief is, how can you write an inspired one?

What is your definition of a good creative brief? If you work in advertising, marketing, PR or social media, and a variety of other fields, chances are you have a working answer.

Here’s a great answer from a book called What’s a Good Brief? The Leo Burnett Way, written in 1998:

“A good creative brief…

…is brief and single minded
…is logical and rooted in a compelling truth
…incorporates a powerful human insight
…is compatible with the overall brand strategy
…is the result of hard work and team work”

Okay, so that’s what makes a good creative brief. But what is your definition of the document itself? Forget the descriptors. What is this thing?

If you don’t have a definition, how do you know if your brief is good or great or inspired? If you don’t know what each of those five points above is, how do you know if you even have a creative brief?

Let’s take a break this week and define the document itself so we know when a great one lands in front of us.

The simplest definition I have is this:

A creative brief is an objectives document whose sole purpose is to spark relevant ideas for the creative team.

I like it. But does it explain all the points in the Leo Burnett definition, which, by the way, is pretty darn close to being definitive? No.

Remove the word “good” and focus on just “creative brief.” If you look closely at the Leo Burnett criteria, you have a solid working definition:

1. A creative brief is brief and single minded

The document reduces to its most essential elements the purpose of the job being assigned to the creative team. Therefore it must, by definition, be focused. It must get to the point. i_love_single_minded_tshirt-rb60739ffd3fb423785cc26764a500fbd_8nhmp_324

This idea often flies in the face of a product manager’s expectations. She sees her product as a “unique package of features” (a term I heard spoken out loud by a marketing manager some years ago).

No one buys a “unique package of features.” They buy a solution to a problem, real or perceived. A favorite shampoo makes your hair look just so. You feel sexy. Your car makes you feel successful or masculine or trendy.

The creative brief makes tangible what this “feeling” is and communicates it succinctly to the creative team.

2. A creative brief is logical and rooted in a compelling truth

A creative brief must connect the dots for the creative team, starting with the reason why a product is desirable. The brief must show the logic behind the product-as-solution, not just the emotion. In other words, a creative brief must tell a single-minded truth.

For example, the single-minded proposition on one creative brief for the soft drink Tango reads: “Join the Tango resistance.”

spockThe “logic” is the reason to believe the proposition. What facts can you present to the creative team to help them build their creative case? With Tango: “It is no ordinary soft drink; it therefore says something about you when you drink it. It’s controversial, daring and overt,” according to the brief.

3. A creative brief incorporates a powerful human insight

Staying with the soft drink Tango, the brief writer had access to an insight about who would drink this product: teenagers.

Teens, according to the agency creative brief, “take on a brand’s personality as a representation of their own. Therefore, if a brand has no personality, it’s impossible for (teens) to feel an affiliation toward it.”

The brief also makes clear that Tango’s history of being out of the ordinary had not been leveraged. The conclusion? “In order to gain a loyal consumer base, we need to give (teens) something that’s worth being involved with.” 5661_ideas_moderation_permalink-1

Although this product and its television campaign are dated, the brief stands as a towering example of being “inspired.” Go to YouTube and view the spot that arose from this brief. You’ll see a “compelling truth” in 60 seconds.

4. A creative brief is compatible with the overall brand strategy

A simple reminder: If you don’t have a strategy, you cannot write a creative brief. Strategy first, creative brief second.

5. A creative brief is the result of hard work and team work

Even in the late 1990s, Leo Burnett recognized the value of teamwork in writing a creative brief. No one writes ads by themselves. It is a process that involves a team: copywriter and art director.

No one should write a creative brief alone. At least two people should collaborate. I recommend an account planner or account management person plus a senior creative. iFPG9VCwIIohqdefaultBut even junior account people and junior creatives, pairing up, are better than a soloist.

These five criteria, for me, are the definition of both a good creative brief and, simply, the creative brief itself. A creative brief is not a creative brief if it does not accomplish these five objectives.

This was a review of basics. As if you were practicing lay-ups on the basketball court or doing barre-work in a beginning ballet class.

Professionals always return to fundamentals to polish their skills.