How to look at creative work.

On a coaching call the other day, I was asked about the approach I use in looking at creative work. I responded to the question with one of my own: “What kind of Creative are we talking about?” 

“Landing pages” was the reply. 

I confess I was more prepared to hear “TV commercial,” or “print ad,” or “radio spot,” but no matter. Regardless of whether we’re talking about these analog options, or we’re talking about microsites, banner ad campaigns, Facebook posts, or twitter rants, or even landing pages, my view is the work is the work, and my approach never varies. 

It is what I described in Chapter 34 of the current, third edition of The Art of Client Service, “Respect What It Takes to Do Great Creative,” where, recalling my days when, “I usually ran roughshod over creative people and their work,” I grew to learn, “my job was to improve the work, not approve it.”  

Transforming from approve to improve wasn’t easy, but I was able to do so, thanks to Mike Slosberg, Christine Bastoni, and other Copywriters and Art Directors who were strong enough and confident enough to call me to account when I went astray, which was often. Over time, I grew to realize my role wasn’t to be judgmental, it was to be helpful. Instead of seeing what’s wrong with a piece of work, I searched for what was right about it, then focused and built on that. I wanted my Creative partners to view me as an ally, not as an enemy. 

Why was it so hard to change? The book speaks to this at some length, but the shorthand is I realized I wanted what the Creatives wanted: to help make the best possible, most effective, results-delivering work for my clients. And why did I want this? Because I wanted to keep my clients, not lose them. 

Another question: “Do you have a checklist or a process you relied on to guide your input?”   

“Sure, I have both: it’s called a Creative Brief, which is the single most important document an agency can create to guide creative development.”   

I explained that preparing a Brief compels you to address key questions before you ever begin to concept ideas, write copy, or think about art direction or design, among them the problem you are trying to solve, the insight you are trying to deliver, the target audience you are trying to reach, and the results you hope to achieve. It’s a list and a process combined. 

I reminded my client that the current, third edition of The Art of Client Service includes an entire section called, “Formulating a Brief that Drives Great Creative.” He remembered, but asked if I might supply an example of a Brief I wrote, along with the resulting creative. 

I’ve written countless Briefs on every flavor of assignment you could imagine, but wanted something recent that easily could be paired with work I could share. After rummaging around in my electronic files, I chose as an example a Brief I crafted late last year, where I worked as a volunteer, serving as both the Planner and the Copywriter, which resulted in an e-letter. 

I could have skipped writing the Brief. My volunteer colleagues barely knew, understood, or appreciated its significance. There was no client with whom to share it. Had I been partnering with a Creative person, I would have needed to craft something with him or her, but there was no such person; if I were going to do a Brief, I’d be doing it for me, and me alone.   

So why did I write a Brief? 

Because I wanted the letter to work, that’s why. 

An offer: If you’d like to see the Creative Brief and resulting e-letter I shared with my coaching client, email me at [email protected] to request copies.