As the noted psychologist and TED Talk veteran, Barry Schwartz, has said, “Everyone needs a fishbowl.”
A fishbowl, that is, that provides at least the appearance of limitation and constraint. He argues, in his book, The Paradox of Choice, and his TED Talk, that too many choices do not make us happier or give us more freedom. Instead, too many choices cause paralysis.
Creative brief writers must understand this principle. The brief is designed not to give creative teams unlimited choices, or even abundant choices, but to restrict those choices. The creative brief, by definition, is a reductive document. It must glean the most important information about the product, reduce it to its most essential elements, and present those elements in a compelling fashion to inspire the creative team.
The result is more creative freedom, not less.
Too much information kills the brief. (Which is why the oldest, least-funny joke about the brief is related to its name.)
As the brief is designed to inspire good creative, it’s no mistake that creatives have learned from experience that the best creative ideas arise from restriction. Consider these words from T. S. Elliot:
“When forced to work within a strict framework the imagination is taxed to its utmost – and will produce its richest ideas. Given total freedom the work is likely to sprawl.”
Advertising and marketing professionals live this daily. There is never enough time, never enough budget, never enough people, never enough resources to complete a project in the manner of their choosing. Lucky them. The best such professionals extract the best from the least.
Who has not heard or uttered this complaint:
There’s never enough time to do it right, but always enough time to do it over.
This excuse speaks to a lack of discipline in the face of restraints. Because we all face restraints everyday. The trick is to know how to use them to our benefit. Restrictions are liberating in the hands of someone who understands the nature of the imagination and creativity.
That’s why the creative brief remains such a critical component in the creative process. And why the brief is so damned hard to write. It also explains why the brief remains the target of so much abuse. When it’s hard to get it right, there are relatively few examples of outstanding briefs, and many examples of duds. I know: I’ve read too many of the former and not enough of the latter.
I suspect that brief writers are rather upset with me at this stage. They know the challenge of writing a great brief, and I’ve just made their lives a bit more difficult by emphasizing the importance of saying less, not more. Of saying less with more power and elegance.
I wonder, sometimes, if creative brief writers shouldn’t be schooled in the art of copywriting before they are allowed to write a creative brief.
I know my own education as a copywriter, which was earned by doing, not by attending any paid class, brought me face to face with the task of “copy fitting,” a mundane exercise that every copywriter endures.
Anyone who has ever taken a composition class learned how to cut a piece of writing in half. The challenge is to assure the message remains intact even as the word count dwindles. That’s what copy fitting is: Say what you have to say in only the space your art director allows.
Well, creative brief writers of the world, the creative brief is usually a page in length, which doesn’t mean you have to use the entire page. It can be 10 questions, five or even one astutely worded pick-axe.
To do it right and well, place yourself in a fishbowl. The idea is called liberating constraint. You will reward yourself and your creative team with more imaginative opportunities when you learn the benefits of living like a sardine.