One thing that has to be true is that if writing creative briefs is hard then writing great creative briefs is extremely difficult. Especially when you have 100 million pairs of eyeballs waiting for you.
The main problems in briefs are usually a lack of clarity of thought and an uninspiring proposition. These arise because sometimes the brief-writer isn't clear why they're really asking for this piece of communication, or what they really want to say, or who they really want to say it to. But, most of all they don't know why anyone should believe them.
So they write briefs that offer their creative teams, and their consumers', too many choices.
Then they use the creative offering to whittle down to what they think they should say.
"Actually, that wasn't really what I had in mind... What I think we really should be saying, maybe, is ....."
Of course it's not always that bad. Some creative briefs are perfect.
But now imagine the pressure of the Super Bowl. Not only do we have to think about what to say and how to say it - we have to know that more than 100 million people are going to watch the outcome.
So, how does a Super Bowl Ad Brief differ from the Common Client Ad Brief?
And, with so many eyes on these ads, why is that some just don't hit the mark, some are bad, and some are amazing?
Many moons ago when I first started pondering this question, I picked up a quote from a Bloomberg's Business Week article entitled "Game on: Super Bowl ads are already playing online". It was from David Lubars, chairman and chief creative officer of BBDO North America, who "advises keeping an ad simple and honest. “It should also be an easy, reductionist message,” says Lubars. “You’re getting a canvas that 120 million people will see. You have to go where nobody has gone before. The ad has to be single-minded, relevant, funny, and emotional. If it’s done right, $4 million (for a 30 - sec spot) is a bargain. I would say 90 percent of the people running ads are wasting their money.”