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.
"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.)
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.
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.