Creative advertising works better. Now, how can I get it?

Every now and then an article pops into one timeline or other and it's like switching a light on. And then, in very special circumstances an article pops up and it's like someone switched the light on, and a loud "hallelujah" echoed forth. 

In this case, it was this article by Ryan Wallman in Marketing Week.

So what did Ryan say?

In the afterglow or glow of cynicism following the Cannes advertising festival, he poses this simple question to marketers, : "How much should you concern yourself with the creative work that supports your marketing?"

Of course the answer is as simple as the question. A lot. You should concern yourself a lot. Marketers get the agencies they deserve, and they get the creative outputs they deserve. You and I know this. But incredibly there are some marketers that still doubt the effectiveness of creativity.

Ryan helpfully shows us some research:

1. Admap research, based on an analysis of more than 1,500 case studies, which ranked the top 10 factors that drive advertising profitability, showed that creative execution was the second largest contributor to advertising profitability after market size. Read more here

2. A 2017 Nielsen analysis of advertising effectiveness, based on nearly 500 campaigns across all media platforms proved that creative quality was easily the most important factor for generating sales, contributing more than double the next highest factor (reach). In fact, Nielsens says that "creative remains the undisputed champ in terms of sales drivers". Read the report here.

3. He references Les Binet and Peter Field’s work for the IPA, that demonstrated how creatively awarded campaigns are more efficient at driving market share growth than non-awarded campaigns. He also acknowledges some recent criticism of the "Survivorship Bias" of the survey which of course might be valid. However, the results are borne out by other research institutes such as Ehrenberg-Bass and Nielsen who have reached similar conclusions.

Highly creatively awarded campaigns are more efficient and more effective.

The main point of Ryan's article thus far is this: 

"To state what may seem obvious, marketers can benefit from good creative work – and can benefit even more from great work."

But how to get it? 

You might think that research is the answer. Turns out that sometimes gives you the exactly wrong answer. 

"Peter Field has demonstrated a negative correlation between the use of quantitative pre-testing and the success of IPA award entries. This implies that if you use quantitative methods to pre-test your creative work, you might be doing the opposite of what you intend thereby reducing its likelihood of success."


Here's where Ryan gets to the "hallelujah" part.

Loosen your grip on the creative process.

"Creative work is like a rebellious teenager – the more you try to control it, the less it will do what you want.
With that in mind, the first step is to give your agency some space. Brief them well, then let them do their thing.
Second, remember that it doesn’t really matter whether you ‘like’ the creative work or not. What matters is how your customers respond to it.
And third, don’t analyse the work to death. It will inevitably lead to compromise, and the end result will be anodyne (or worse)."

I'm going add some of my own magic dust onto his hallelujah. Here are my simple steps to achieving great creativity.

Understand, and believe in, great:

Take the day off, in fact take one day off every month, and truly understand  what makes great work great, and how it is an undisputed competitive advantage. If you really believe in its efficacy, maybe you'll try harder to make sure you and your teams deliver great, not mediocre-but-meets-the-deadline.
There are hundreds of resources: get your popcorn out and start with this one:  The IPA - effectiveness learnings

Write inspiring, tight briefs:

Briefs are a strategic document - not a process document. And tight doesn't mean prescriptive, it means absolute clarity in terms of the job to be done.
Briefs are way harder to write than anyone thinks and like most chefs can tell you: bad ingredients in, bad meal out. There are a few key tips to writing good briefs - but most important is to understand that it's not something to be banged out in ten minutes, or cut and pasted from last year's brief. Get the right training, get the right people to write them, give enough time for them to be inspiring. Remember also the three drivers of great briefs: Brevity, Clarity, Fertility. 

Learn how to evaluate and give constructive feedback:

Again, this is harder than it looks. Get your own opinions out the room. Use a tool if it helps to distance yourself. I invented one which I'll give you here for free. I call it R2OI2. (Trips off the tongue doesn't it?) Simple: R = Relevance and Resonance. O = Originality. I = Insight and Idea. and there's ROI = will it deliver against investment and objective?
Biggest wins - a powerful insight and a big idea. If you spend time looking through any Cannes winners' case studies (which you should, after you've done the IPA site backwards), you'll start seeing that insights and ideas are essential. When you evaluate work - if there's a gigantic idea there but you don't like the execution - keep the idea and work on the executions. Mostly, the execution is thrown out with the bathwater. 

And lastly:

Up-skill your team.

Many people land up in marketing or advertising with considerable skills, just not these ones. I'm not being facetious and I'm not saying it because our Creative Fitness and Business Marketing Academy courses could change your life. I mean they could. But, this stuff is difficult and it's risky and it's expensive, yet many people don't know how to do it, and even fewer of then don't know how to do it brilliantly.

It's worth investing the time and money into building these skills. If you don't want to call me to do it, spend some time reading the work of Beloved Brands - there more tools and tips in Graham Robertson's blog and Linked in feed than you can use in a lifetime. He is immeasurably generous with his knowledge.

In the end

We all know creativity works harder and is a competitive advantage and delivers more bang for same buck. In fact the less creative dreck that surrounds us every minute of every day (something above 3000 messages every 24 hours), that we ignore, is often more expensive, takes more time and breaks agency-client relationships.

If you remember only one thing from all of this it's this: Mediocrity is Expensive.

Someone clever said it, and the story of the quote is in itself a lesson. Read about it here.

Make the rest of your year about aiming high. Because your business deserves it.

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Contact Gillian on gillian@adtherapy.co.za or +27832659099 to help you figure out how to find this holy grail. It's not easy, but it's not hard once you know how.

Would your brief for a SuperBowl ad be different from how you usually brief?

Every year I adapt a post I've written over the years asking what makes a brief for a Super Bowl ad different from the briefs we usually write, everyday briefs?

Here are my thoughts in a 2017 world.

If writing creative briefs is hard then writing great creative briefs is extremely difficult.

The main problems are a lack of clarity of thought and an inspiring 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 every year, the Super Bowl ad-fest inspires me to ask this question:

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?

In 2013, when I first wrote an article on this question, I picked up a quote from a Bloomberg's Business Week article entitled : "Game on: SuperBowl 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.” (* now $5million)

So back to my question. Is the brief for BIG work different from your common and garden version?

Or is the work different because maybe  the agencies recognise that this is THE brief and assign their best teams to work on it? But even that doesn't always deliver great work. 

Even if the Super Bowl Ad brief is perceived by the agencies to be much cooler and high-stakes with more chance of creative risk-taking than the average Client Brief, then why do some of the Super Bowl ads come out boring, done-before, irrelevant and imminently forgettable?

It seems that the enormous viewership might have something to do with it. Possibly a bit of stage fright and a trying-too-hard aspect? Or a client wanting to cover all their bases to justify the enormous spend?

My two cents worth would be that there's too much playing to the masses and too much losing sight of the one person that actually counts - the person who may do something, buy something, think something, as a result of your ad. 

Is there a different approach to writing the brief for communication that will be watched, and analysed, and talked about, by millions?

The usual Client Ad Brief claims to want to be original, single minded, relevant and emotionally engaging, right? So what's the big difference? Truthfully, having never seen a Super Bowl brief, I have no idea.

Here are some ads that I thought were interesting.

A few ads I thought hit the mark are Budweiser Immigrant ad (totally coincidentally spot-on from a political consciousness point of view), the 84 Lumber ad (ditto, very topical and bound to polarize both ways, they also gained huge traction from being "censored"), the Kia ad with the inimitable tree-hugging Melissa McCarthy and the Hyundai live shoot ad living up to its promise of making things better, and showcasing tech in all its storytelling magic. I also loved It's a 10 Hair care, for being hilariously political while strongly selling their brand benefit.

All these are fresh, single-minded, and totally relevant. They all hit an emotional chord. One is funny, one is deeply chilling, one makes you want to cry and one makes you laugh. They speak to the truth of their brand message. And all of them address, in totally different ways, an interesting insight. The Kia ad for me tapped into an interesting insight: being an eco-warrior is hard, but you can still do your bit by driving a Kia Nitro: the target consumer cal still do her bit to save the planet without going full eco-warrior. 


These ads have managed to create an ongoing dialogue, online, offline, in people's hearts and minds, about what their message. 

And the interesting shift this year, coincidentally or not, is the political nature of the messages. There was an apparent rejection of the right wing shift in American values and the need for big brands to continue to honor diversity. 

This ad for Airbnb is case in point - based on a really strong insight and business challenge. I would have guessed that the message was aimed as much as consumers as Airbnb hosts.

Interesting side story: the ad space was bought on Thursday and shot on Thursday night (using Airbnb people as actors).  Reading this article though, the ad claims that Airbnb "was using the Super Bowl to highlight its commitment to provide short-term housing for 100,000 people in need over the next five years, including for refugees, victims of natural disasters and aid workers."  


I'm not sure it achieved that, although CEO Brian Chesky tweeted additional information.

There were many more, and many more opinions. Watch them all here

Whether the ads were a hit or a miss, here's what I like to imagine sets a Super Bowl brief apart form a common Creative Brief:

1. The client (and agency) are aiming for GREAT. You have a much better chance of getting there if you aim for it, than if you don't.
2. It's presumably agreed upfront that the ad has to be entertaining with exceptional production values (with budget allowed for) - great advice for the Common Brief to borrow from.
3. The ad aims to be memorable, relevant and engaging. Tick, tick and tick.
4. It simply has to be distinctive. And talk-able, and shareable. And that means some brave decisions need to be made in the approvals process.
5. The message has to be totally singleminded.
6. Time has been invested in mining a really strong insight about the consumers motivations or beliefs in the category. 
7. The brand has a strong point of view, which may or may not please everybody.
8. A powerful proposition and very clear brand positioning are the cornerstones.

Maybe we should treat each ad brief like a Super Bowl brief and see what happens to the work?

Dear CEO, we need to talk about "integration"

As you know, there is much pressure to cut costs, everywhere, all the time. One of the areas consistently in the spotlight is the communications budget. Just how much are you paying your ad agency, digital agency, media agency, PR agency, media buying agency, social media agency, internal comms agency, shopper marketing agency, direct marketing agency...? And come to think of it - DO YOU NEED all those agencies? That's a lot of duplication right there. That's also a lot of meetings, confusion, lack of integration for your harried and harassed marketing team to deal with. Right?

Right.

So integration makes sense. Somehow you'll find a way (or ask your Lead Agency) to build a core team of big thinkers and surround them with excellent implementation specialists and get the agencies to build a simple yet complex workflow process that gives you the best talent you need, across disciplines, in one team. Not only will you cut down on duplication, you'll save money, you'll cut down on the time creative takes to get out, and everyone will be happy. Right?

Wrong.

Because what's actually eating up your agency fee and killing your creative product stone dead (along with a few of the creative talents working on your business) is your own processes.

Integration is the only way forward in order for marketers to make sense of every increasing channels and agency specializations.

But there is no point getting your agencies to integrate if your own business isn't.

Here are some thoughts to ponder (and with each one, please imagine the sound of money going down the drain):

• Your junior marketing team is most likely briefing the agency on work that has not yet been agreed between your various silos.
• The integrated agency team will start work, and sometimes do considerable work, and present to your junior team many many times before the presentation moves up to a more senior layer, at which point someone (possibly from one of those silos) will say: "why are we doing this?"
• That might  require a debrief or a re-brief and so the cycle will continue. This time there is possibly a more aligned brief. This is good, although time and energy and money have been wasted.
• After the agency has got through this stage, the work will be presented to the CMO, or the CFO, or the CEO, at which point someone might say: "I don't like it", or "why are we doing this?" And thus the agencies go back to the beginning.
• Or the C-Suite are dabblers. Or everyone in the team is a dabbler. And they dabble with a bit of this, and move that to the right, and upweight this and can’t-we-also-mention that. An agency I was with recently was on revert 56 for a print ad. How different was it from revert 55, or 54, or even revert 21? Had it been materially improved? Would the consumer notice or care? What was the cost of that dabbling?

And worse than the fact that your team has literally flushed gajillions down the drain through this process, that's not the only cost.

The cost is the “creative tap closing". 

At a certain point creative teams, generally optimistic and determined to help you, will simply say the worst words imaginable if you're paying. 

"Just. Give. Them. What. They. Want". 

Those are expensive words. Because you are paying for talent and then forcing them to give you mediocrity. Which they will, eventually, just to get your job out the system.

This does not make them happy and it should not make you happy either. You may ask why agencies don't try and change your system to make it work better. Truth is they try, but often end up being bullied by the junior marketing teams to curry favour with their bosses. Once in a process workshop,  a brand manager admitted to briefing an agency to develop a promotion off a creative big idea that had been bombed. What? Yes, that poor promo agency worked for a month on work that could not possibly ever be approved. Why? Because the brand manager had a meeting scheduled with his boss in a month and needed something to present.  Do I need to play you the sound effect again?

What to do? *wrings hands*

• Get your stakeholders to agree briefs and communication needs from a business point of view, before the agencies are briefed;
• Give fewer but better briefs;
• Give senior input early in the process;
• Approve the big ideas early, before the agency has developed the full campaign;
• And - and I love this - institute a Wastage Report. Anyone in your Marketing Team that goes over a maximum of 4 reverts has to sign off the responsibility for it. They have to answer whether it was really really necessary to move the logo to the left and change the type to blue? These reports must be evaluated at the end of each quarter/6-months/year. It's dead easy to see who's costing the company money, time and good work. If someone is repeatedly going over 4 reverts, then they are either not briefing well, or the approval process is flawed, or they are a frustrated creative director. All costly habits.

The result of these simple changes?

Gajillions saved. Happy shareholders. Happy creatives. Good work. Happy consumers. Jingling tills.

Now we're talking.

The Cannes Festival is over. Is the winning work any good?

Well, what a relief that the endless stream of sun-dappled beach and cafe pictures, with the obligatory cocktail or glass of pink Chateau Quleque-chose in the foreground, are over. Back to the real world for the lot of you.

Pic Courtesy Arlene Donnenburg. 

Not that I'm envious at all. I managed to save my South African Rands, and still watched some great seminars from the comfort of my heated office in freezing Cape Town. And I didn't have a hangover once.

So given that I was a virtual voyeur of the Festivale, which used to be called the International Advertising Festival and now is known as the somewhat loftier International festival of Creativity, I have a few learnings, observations, musings, mutterings.

The first is the mobile is where it will be, and the developing world has the most opportunity. Watch Keith Weed from Unilever's views here

The second is that ideas still matter. More than ever.

The third is that the name should revert to the Festival of Advertising, not Festival of Creativity. Just because it's a 3-D billboard, or a prosthetic arm, or an App that looks after your kids on the beach doesn't mean that somehow it's stopped being advertising. 

MegaFon's MegaFaces Billboard at the Sochi Olympics

This is not a festival for pure creative, because that would then encompass art, and graffiti and music and film and books and a whole bunch of other creative pursuits. This is creativity in service of business. It's creativity that is helping brands grow. And that, in my humble view, is called Advertising.

Of course Sir John Hegarty said it best - listen to his view on this point here.

Another point is that many of the winners were familiar work, already. Both the Grand Prix Winners for Film had already been seen many times; in the case of Volvo Trucks  over 73 million times.  Fourth learning: great work gets shared. Great work is amplified. T'was ever thus, but so much more powerful today.

But for my fifth and I think most interesting learning, back to my headline. An article in the USA Today had this headline "Incredibly Unusual Ads take Top Cannes Awards".

Which got me thinking - why are they unusual? Awards shows are always controversial, but unusual? Are the winners any good?

And that's the beauty of Cannes. 

Whatever the festival is called. Because it forces those of us in the pursuit of great advertising to challenge our notions of what great looks like. And to share in the choices of experienced judging panels. And to ponder and wonder what they saw in those pieces, and why the mood of the winners feels quite different to the winners last year. And whether we personally think they're good or great.

And that's the greatest learning of all. Everyone in the business of marketing communication needs to constantly review, question, discuss, have a point of view. Watch the seminars. Learn. Listen. Grow. That's the practice needed to constantly get better at this.

Btw, the journalist of the "Unusual Ads win Cannes" story, quotes:

Harvey Nichols Christmas Campaign

The Harvey Nichols "Sorry I Spent It on Myself" campaign focuses on people who buy their loved ones inexpensive holiday gifts, such as rubber bands and paper clips that come in Harvey Nichols-branded packaging, so they can spend more on themselves. 

The retailer actually sold the cheap, unusual presents featured in its ad — and sold out in just under three days.

Harvey Nichols' advertising approach was "brave" and "flew in the face of convention around holiday advertising," said film jury member Pete Favat, who is the chief creative officer at ad agency Deutsch LA, in Los Angeles. "For a retailer to take their highest-selling season and do something like this is remarkably bold."

Brave, bold, convention-breaking, successful. Those have always been hallmarks of great advertising. So not really unusual at all. The only unusual bit is that so few marketers will make this type of work.

To summarise.

My brain is full. My heart is inspired. Onwards brave warriors. Do your best. Because in the end, everybody wins.

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Adtherapy is a consulting and advertising skills-building company that is on a quest to #ridtheworldofbadadvertising

Contact Gillian on gillian@adtherapy.co.za if you want to join the quest, or want some advice on how to make better advertising.Or you can follow, chat on Twitter @grightford@grightford

Creative Account Management: the real deal

Account Management is a difficult job and a much maligned role. It is the interface between the marketing client (the fulcrum of all of the client's own internal politics) and the ad agency's system that produces the creative work: traffic, creative teams, strategy, production, implementation.

They are also a human punch-bag.

The client gives them a tough time because they place them in very difficult situations, and expect them to do the impossible, often. Some are downright abusive.

Inside the agency, some of the people they work with think that Account Management are "useless". 

Does your dog bite? Image by cjenjasuwan.

"They just do what the client wants".

"They don't know good work".

"They're more like the client than this client is".

"They don't push back hard enough".

I attended an Eagles breakfast many years ago when the agency CD from Mother London spoke. "We don't have account management", he said to thunderous applause.

Here's how Mother London's Stephen Ledger-Lomas explained it recently: 

"We don't have any account managers. The client can call the designer the creative strategist, they can call the chef if they want. That means there's no hiding places - they are the ones that have to explain their ideas to the client directly. there's no pass the parcel".

Personally - I love that philosophy. Cut down on the layers. Keep it responsive and flexible and accountable. Get the key people close to the client's business. 

But funnily enough, many creatives that I speak to actually don't want to take on that role. They want someone to be the 'buffer'.

So, why the disconnect? Why don't they value this person who's taking the punches for he team?

Because great Account Managers are few.

The person who can be the ideal Account Manager is multi-faceted. They are organised, numerate, diplomatic, have good people skills, are problem solvers, can project manage, are persuasive, are manipulative (in that they have to sometimes get stuff out of people that is almost humanly impossible), are motivational, are good marketers, understand media in all its facets, understand production, understand marketing and consumer behaviour, are strategic, and are creative. They aren't left brained or right brained, they are 'whole brained'.

And that's rare.

Some things have happened to the Account Management role that have worsened their lot. Not just here - globally. 

Ticking boxes isn't everything. Image by Danilo Rizutti

I once asked a colleague from Lowe in London what he thought the problem with Account Management was. He said "People have to stop promoting secretaries". Look, some of my best friends were secretaries, and sometimes that was their only way into the ad business, and they have done well. But often, secretaries get promoted into Account Management because of their organizational skills. Project management. Getting things done. Great. Tick. We need that. 

But that's not all we need.

The vast right brained chunk of what makes a great Account Manager is missing. Enter Strategists.

The strategists became the ones to fill in the gaps between what the project-manager-account-manager could and couldn't do. And great strategists are worth their weight in beluga caviar. But Account Management should not completely outsource this role. As I always say: "strategy is not a person". (As in, "let's call strategy"). It's a way of thinking, and Account Management has to lead, to direct, and contribute to this process, based on their intimate knowledge of the client and the client's business, to which strategists are only exposed every now and then.

So the Account Management role became just a glorious, glorified master of ceremony, bringing in the 'experts' to present to clients, wrapping things up at the end of the meeting and managing the project flow and deliverables.

Because of this, they became detached from the creative work - the real product that they are part of producing. They don't "speak creative". They don't consume great work; they don't read or watch what the creatives are reading or watching. If more Account Managers attended events like the Eagles Breakfast, perhaps there wouldn't be such a divide. The creative output becomes something to meet a deadline or a budget.

Inspire and lead - not manage. Image by KromKrathog

Another part of the problem is in the name. Account Management. It's boring. It says you manage an account. But you don't. You grow it. You inspire it. You inspire those who work on it. You live and breathe the success of it. The term 'Client Service' is even worse, as it implies that you simply service the client, do their bidding. Some clients want, and even demand this.  But, they will never get the best work from their creative resource as a result. 


(Read my analogy of Michael Jackson and his Doctor here to see why a client-agency relationship in which there's no respect for each other's skill-sets is doomed).

Some agencies have experimented with other titles. 'Brand Leader'. 'Communications Director'. And of course the creative eco-system, from which the account manager is banished through their own lack of organic participation, calls them names like 'Client Serpents', 'Client Surplus" or 'Client Serviettes'.

And then, equally polarising, are the terms "Creative Department", and "Creatives". Which means, by inference that other people in the agency are not creative. Which is of course what they should be to work in this business.

Part of the Account Management job is project management, part is marketing, part is strategic, part is creative and part is business, making sure that while the client's business is growing, so is the agency's.

At the end of the day a great Account Manager should live and die by great creative. As Colwyn Elder, head of strategy for Y&R said to me the other day: "it's rugby, not relay". It's as much your work if you're the Account Manager as it is the creative team's. But because the emphasis is on project management, and on handing over the relay baton, so the silos develop and become entrenched. Work, or client relationships get defined in terms like "theirs" or "your".

"My Client doesn't like your work" - accman to creative. Or "Tell creative that there are some changes to their work" - accman to traffic.

 The separateness works both ways: 

"Your client wouldn't know a good idea if it leapt from behind a bush" - creative to accman.

It's not yours, or theirs, or mine. It's ours.

In a fascinating article, Why Conformists are Key to Successful Innovation  in the Harvard Business Review, it shows the impact - good and bad - of too many "conformists" on a team of creative individuals. They are indeed necessary (and helpful) for innovation to be implemented, but they can also be idea killers.

Conformists tend to be the people who know how to get along with others. They know how the system works and they adhere to the rules. They have an eye for which ideas will be accepted by others. 

As you build your team, be careful not to overdo it on detail people, who tend to be risk-averse and uncomfortable with ambiguity. They can squelch nascent ideas. You don’t want the detail people forming a bloc. 

You might get lucky and find creative people who are also conformists. Those people do exist. In our study of 468 people, we found that 7% scored high on two of the three cognitive styles. You might even find creative people who are conformists and detail-oriented. But don’t hold your breath: Just 3% of the people we studied scored high on all three styles. 

And don’t overlook the importance of the people who are “none of the above.” I believe that people who don’t score high on any of the three styles tend to be the ones who form bridges among the creatives, the conformists, and the detail-oriented people. They foster understanding among the different types.

What to do?

An account manager that 'gets it'.
Image by KromKrathog

Seek those rare creatures who are 'whole brained'. Choose Account Managers who are strategically smart and creative and give them project management support. Do this rather than employ project managers, give them strategic support and expect them to go to war for great work. Project managers are always going to be task driven. This is a vitally important skill in an organisation in which the output is time sensitive and money sensitive. But it's not the essence of Account Management. Pure project managers are never going to grow client relationships and contribute to the creative dynamism that inspires brilliance from agencies. Not because they don't want to, they just aren't wired that way.

Find yourself the real deal. The ones that do want to. The ones that consider Creative Account Manager to be the ultimate title.



Adtherapy runs Account Management Workshop and Mentorship programmes for agencies that focus on building leadership capacity in the three most essential areas: Strategic thinking, Creative and Business. Contact Gillian if you need more info on gillian@adtherapy.co.za

All images courtesy www.freedigitalimages.net