The document provides guidance on developing an effective advertising strategy and creative brief. It emphasizes starting with clear brand vision and strategic objectives, and developing a "big idea" creative strategy that consistently communicates the brand's message over time. The document also stresses evaluating whether the creative expression truly reflects and accomplishes the strategic goals.

1. 1
Advertising is the creative expression of your brand their perception of the brand. Usually the truth
strategy. While it needs to accomplish its strategic is the obvious— we just don’t see it sometimes
task, it also projects an image of what your brand or want to deny it (e.g. Listerine is strong). Good
is about. Good advertising starts with a big idea. advertising is a balance between the rational
The idea must be big enough to stand through time, truth (task benefit oriented) and emotional truth
giving the consumer a consistent touch point with (connection / solution focus).
the brand. The idea also needs to have room for an
array of messages that build up to the one constant Evaluating good advertising from bad is as easy as
vision for the brand. your ABC’S. Good ads need to attract Attention
(A) be about the Brand (B), Communicate the
There is truth in advertising! In fact, brand’s story (C), and Stick in people’s minds (S)
un-true advertising is rejected by consumers — over time. The best ads are ones that find the
because the consumer sees no consistency with “creative epitome” where the creative idea actually
THE
does all four: A, B, C and S.
ADVERTISING
LEADER “You Get the Advertising that you deserve”
(old ad agency proverb)
THE ADVERTISING
LADDER From Strategy to Expression
Brand Vision
Where Are We?
Brand Issues We Face
Media Guidelines Strategies to Meet
Target Audience
Ad Platform
Media Range Creative Strategy
Big Ideas Communication with
Creative Expressions Agency should go up
Final Media Direction Ad Architecture and down this ladder
Tone/Feel
Ad Elements
Final Ad
As the advertising leader, you have to merry the these together to maximize the expression of
creative and the media. While relying on 2 divergent your strategy.
experts, you have to become the expert in bringing

2. 2
Having this ladder etched into your brain, will allow As we move down through the process, I find the
you to be better at communicating with your agency top part is all about figuring out what you want
or the creative team. to do…the middle part is more about structure,
logic and architecture. The bottom part is about
It forces you to go up and down, which grounds getting a feel for the tone, character and details. The
people in your thinking. You might find that a given challenge is, they all have to match.
casting choice doesn’t fit the tone or that the big
idea doesn’t reflect the strategy.
WHERE
ARE WE? The 5 Great Questions
Before you start any advertising project, you have Also, 3 months after you go on air, answer these
to be grounded in where you are and where you questions again! You will likely be shocked at the
want to go. Answering these 5 questions helps you impact of your ad…or at least you should be.
set your advertising vision, strategy, and in the end
the execution. On the creative side, I always try to critique my
» Where are we? own ads and use that as the theme for going
» Why are we there? into the next round of creative.
» Where could we be?
» How can we get there?
» Are we getting there?
WHAT ARE WE
TRYING TO DO? Issues & Strategies
Why are you advertising, and what do you MINDSHARE: Are you trying to get more attention
hope that advertising will do for the brand? This then your competitors, in the hope that attention
should take you back to your key issues and your drives sales?
strategy—and then link these down the ladder to CONNECTION: Are you trying to reflect the
creative strategy. experience of your brand to create a tighter
emotional bond to your brand?
The answer has to be framed in a behavioural NEW NEWS: Is there something new you have to
change you want to happen in your consumer. announce—new claim, new launch or new reason
for buying?
DRIVE ACTION: Are you trying to get more
consumers to eat (drive trial), or your current It could be a combination of things—but the tighter
consumers to eat more (penetration) ? you can narrow “what you want the advertising to
MINDSHIFT: Are you trying to drive a new do”, the better the rest of the project will be.
positioning or re-enforce your current equity?

3. 3
BEFORE YOU EVEN START...
If you think back to your overall brand strategy,
Awareness which one of these 5 lines are you focused on
activating or triggering? Yes, the other lines will move
Trial
in accordance, but which one are you strategically
Purchase focused on?
Re-Purchase Understanding this will help focus you on your task
as you dig into the advertising. So when you keep
Routine
asking yourself: “what am I trying to do”, it will re-
ground you in “drive trial” for example.
WHAT ARE WE
TRYING TO DO? What Stage Are You At?
?
Trigger: “What started the process?” It can be
TRIGGER CONSIDER a special occasion, an emergency, planned or
unplanned, a habit, a routine.
EXPERIENCE SEARCH Consider: “What were your options?” “What
benefits were you looking for...?” Look at answers
from consumer’s point of view. This is our
$
‘competition’
BUY CHOOSE
Search: How did you find out about them? Don’t
under-estimate their information sources. Today
If you think about what you are really trying to do, everything is a medium. You want to be where they
start with where your brand is, and where your are searching.
consumers’ mind is at. This model shows that
consumers go through a continual loop from trigger Choose: “How did you choose which one to
to experience. You have to decide where you want get?” What makes the difference? What’s the key
to focus, and with what tools. You’ll be surprised motivator?
that work that focuses on consideration will be very
different from that focused on choosing or buying. Buy: “Did you buy the one you’d already chosen?”
Things happen at the last minute (e.g.: competition
It’s a good tool to figure out multi-media approaches, is on sale).
using TV to gain the consideration, a website for the
search and a promo to get them to buy. Experience: “Are you happy with it?”

4. 4
WHAT ARE WE
TRYING TO DO? An Example: Buying My TV
Trigger: My TV is 10 years old and not working Choose: But then I see a 27 inch flat screen for
that great. $399. It’s Panasonic, which I figure is as good as JVC
or Samsung.
Consider: I want a 27inch for about $400-500. It’s
my 3rd TV, so I don’t want to spend too much. I Buy: They only had one left in stock…which
figure a Japanese Manufacturer—given my bias that appears to be on hold for another customer. As
NA ones are crap. they look it up in the system, I’m thinking, I’ll just
ask what else do you have in that range…which
Search: I’ve been watching the flyers for a while makes me realize the brand didn’t matter, as long as
now. Prices look to be coming down. Get into the it was in my consideration set. At that price, I’m not
store…see a 27 inch down as low as $299…which too fussy.
scares me…plus it’s an RCA…is it good? See a
32 inch at $499…that’s pretty good, but it’s not a Experience: Maybe I should have gotten the 32
flat screen. Maybe I could get bigger within my inch. I guess I’ll watch for when the flat screen 32
price range. inch TVs comes down in price.
WHO’S
BUYING? Target Audience
A good target is defined as what slice of the you to talk to. Too often, brands are tempted to go
population will be “most likely” to be motivated to after an aspiration “cool” target (the leading edge),
take the action you want them to take. It should while ignoring the “meat and potatoes” target (the
be a mix of demographic and psychographic—use masses). Nearly every town in Canada has a Queen
a target range to be fairly inclusive from a media Street, so try not to be “too Queen Street West-
view, but also don’t be afraid to narrow down to ish”. This does not mean you broaden the target,
a bulls eye so you can picture who you are talking but rather to ensure that the bulls-eye is truly
to. Name them if you can (eg NASCAR Dads) , reflective of your strategic target.
more so to reflect them then to generalize—it
helps the creatives figure a way to better “express” You can’t market to everyone—while it’s tempting
your strategy. to keep the target broad enough to avoid missing
someone, your final work will always express
Be careful to make sure we talk to who we need beyond the “bulls-eye”.
to talk to, and not who you or the agency wants

5. 5
WHAT ARE
WE SELLING? Ad Platform
Usually we start out wanting our ad to do one Ask yourself the question: “what are we selling”.
thing, but then we realize we need it to do so many That should naturally force you to think about:
things. The biggest mistake is to layer on more Selling solutions rather than over-dramatizing
and more benefits or mandatory requirements or the problem…remember that consumers
target insights. buy solutions not problems.
You have to realize that your ad will normally do 5 What’s the difference between your brand
or 6 things, just by its very nature. What you have and the others? Make sure you don’t sell
to think about….what’s the ONE THING you need the category benefit, and make sure you
your advertising to do for you, and are you doing don’t sell what someone else is selling.
it well?
Focus on consumer needs the brand can
own, and not just the product features the
brand already has.
The Shout From The Mountain
You’ll find agencies will use so many tricks to get it one more time, and see if you can take out 5-15
down to the ONE THING. And whatever works for words. You’ll be surprised how much better it gets.
them or you, the better. If it’s a postcard, a bumper
sticker, “what would you say to get someone to And a third way to look at this is through a simple
marry you”….find your own. My favourite seems function, where the probability of success (P) is
to be the “SHOUT FROM THE MOUNTAIN”. It directly linked to the inverse of the numbers of
forces you to want to scream just ONE THING messages (M) you have in your ad:
about your brand—keeping it simple. P = 1
2m
Another good exercise, once you are close on the The more messages, the less chance for success.
brief is to challenge yourself to go through the brief
Creative Strategy
The big question is always “who writes the brief ”. strategy. A good brief should translate what you
I believe it’s the agency that writes the brief. While really want into language that sets up the creatives’
the creative strategy should be a mirror of your ability to express that. Debate every word on the
strategic platform, having it written into the agency’s brief with rigger—because if you don’t you’ll be
words and agency’s format allows them to digest it sliding down the Advertising Ladder into a direction
and buy into it, which is step 1 in the agency taking you will not like…and you’ll feel that price at a later
over the accountability for the work. point in the process.
What’s the harm in them writing it? You are at the Most agencies believe a good brief should be a
table and can always input to ensure it reflects your “creative” document that motivates and inspires

6. 6
their creative teams. I worry that those “creative” Before You Go…Does it all Fit?
words start to narrow the focus—in either tone or
reflection. If you have “fights stains” on the brief, Look for “tubas playing their own song” so you can
it has much more room then “goes to war with make sure that everything is aligned—e.g. does
stains”. This is especially true for a new direction—if your target fit your vision and your benefit fit your
you have an established ad idea, the wording should strategy? If you are trying to drive penetration, then
reflect some of the previous work. why are we targeting current users?
STRATEGY IS EXECUTION
AND EXECUTION
IS STRATEGY Creative Strategy Expression
The creative team will put all their focus behind should no longer be your strategy. Simply put, it’s
“what is the one thing that we need to tell them”. impossible to express your strategy in a way the
Make sure it’s clear, tight, and you fully buy into consumer gets or finds meaningful. Go back up the
it, because this is what the execution should be advertising ladder and re-write the brief.
focused against.
Also, if you nail it, then your advertising is now a
If you are doing it right, the strategy and execution living and breathing expression of your strategy.
are so inter-connected, it should be hard to see After 3 months on the air, you’ll be surprised at how
where one starts and one ends. fast things can change. Go back up the ladder and
start again. A good execution SHOULD alter our
If an advertising execution is to be an expression strategic thinking…and we should adjust where we
of strategy, then a strategy that is not executable go from here.

7. 7
CONSUMERS ARE
NEVER STRATEGIC Keep the Creative Strategy Simple
Consumers digest 1000’s of messages a day…when Realize though, that your consumers rarely analyze
they open their fridge, drive in their car, walk along your ads…they simple consume and digest them.
a busy street, turn on the radio, watch 62 channels If they never “over-think”, than why do you?
of TV. Realize that if your message sticks, you have Keep it simple.
done 99% of the job. It’s that simple.
0 to 60 ? Yes
Al Ries says everyone should be able to get their
brand down into 1 word. (e.g. DQ “thick”). While
that might be a lofty desire, you should be able to
get your brand down into one idea. What’s the one
word or sentence for your brand—what exactly are
you selling?
Very Little Can Say A Lot!
THE TRUTH Are you There?
Before going into the advertising development, do Emotional Truth: What is the emotional area you
you have a grasp on the truth about your brand? can play in? Based on what the consumer thinks
It’s a strange thing, but they always joke about the about you, where is the brand allowed to go, and
lack of truth in advertising—but I always find that how far? Does your ad fit the brand?
whenever I get a great ad, it’s likely because I’m as
close to the truth as possible. The truth does not mean you just stand still and
tell them what they already know. But rather you
Rational Truth: What are the rational thoughts your make sure where you are allowed to go. Otherwise,
consumer already has about you, or what is in your if there is a big disconnect, the consumer will simply
bag of tricks that you’ve yet to share. How do you reject your message.
best reflect them back to your consumer? Ask
yourself over and over again. What are you selling?

8. 8
THE
ADVERTISING
MESSAGE The Medium is the Message
Marshall McLuhan
The Truth
?
Keep in mind, that
! it’s not what is said,
but what is heard.
Try to think like your
consumer.
THE
BRIEF Getting All your thoughts down on Paper
The Rational Truth:
The mind is
a medium...
All of these thoughts
impact your view of
the brand.
Marketing is constantly
about stretching the
consumers’ mind.
However, there are
some things they won’t
let you do.

9. 9
The EmotionalTruth:
...and so is the Heart.
It’s easier to think logically
then to feel emotionally.
But many times,
it is even
more important.
Does it feel right?
Tim Horton’s
now owns
“being Canadian”
YOUR Horton’s now owns “being Canadian”
Tim
STRATEGY The Set Up
Advertising Strategy: What do you want the Specific measures or results that you’ll use to know
advertising to do for you? if it was a success. Think of it as a step on the road to
the success. (eg: if the advertising drives awareness,
It’s a sub-strategy to what you are trying to do with we know they’ll try it, and love it)
the brand. Advertising is a prompting of action! Try
to think of either an action you want the consumer Should be linked to the advertising actions
to do or an end state of where you need to be to you wanted.
fulfill your overall strategy or vision.
Target and Insights: Who are they, and what do we
Objective: How will you measure if it is successful? know that matters?

10. 10
You want to define the parameters of which slice psychographics. I like the idea of a target range and
of the population that you think you can then a bulls-eye.
actually move with this advertising,
— either based on demographics or What are the 1 or 2 key behaviours about this
group that you think you can tap into and use as a
YOUR way to get them to take.
STRATEGY The Positioning
Benefit: What are we selling? Make sure it’s a perfect logical/emotional match to
The benefit is a match between what your brand the benefit.
has (what are you selling) and what the consumers
actually want (what are they buying). Brand Positioning: Reflects the overall strategy
Should be very single minded—and focused on the This becomes a summary of target, benefit
slice of the population you want.. and support.
“For (this target), Listerine is the brand that (benefit)
Support: Why should they believe us? because (support)”
The reason to believe the benefit is true. What’s
the one thing we can tell them to help trigger the Brand Character: Words you feel reflect what your
action we want? brand is all about.
Think of words that you feel would be the 3-4
defining words of your brand, if it were a person.
Agency Format
Why are we advertising? view the brand afterwards. This is almost your head
The agency thinks about this in terms of head space, space objective.
and how they want to impact the consumer’s brains.
The hard part is that we think of this as an action. What is the one thing we need to tell them?
This should reflect either what you are selling or
Who are we talking to? how you are selling. It’s the benefit. Many times it’s
They will use the target references but try to take the only thing the creatives will focus on.
our insights and reflect them in an interesting way
for the creative team. Why should they believe us?
This is the reason to believe the “one thing”.
What do they currently think about your brand?
Think of it as the “before”. A very honest perspective Brand Character
of how the consumer currently views your brand. Reflects your words on your document. Be careful
we don’t mix up brand character with “tone
What do we want them to think? of voice”. I’ve since asked them to add both to
This is the “after” which is how do we want them to the document.

11. 11
An Example
Why are we advertising?
To continue to develop the link to brushing What do we want them to think?
to establish Listerine as a part of the daily oral I didn’t realize that it’s wise to use Listerine all the
care routine. time. But I sure like the idea of keeping my mouth
clean and in the best health it can be, so I’m going
Who are we talking to? to start using it every time I brush.
Reactive Preventers – the kind of people who react
to news by improving their ways – who currently What is the one thing we need to tell them?
use Listerine occasionally (2 – 4 times per week) For the cleanest, healthiest mouth, use Listerine
aged 20 – 40 (bullseye 28). They usually brush twice after brushing.
daily, and see their dentist on occasion, so probably
already think that they’re doing enough. When they Why should they believe us?
use Listerine, it’s likely triggered by gingivitis or a Using Listerine eliminates more germs than
mouth that just doesn’t feel as good as it should. brushing alone
They understand what Listerine does, but they
don’t think of it as a part of the daily routine. Brand character
Powerful, larger than life, immortal and unfailing.
What do they think about Sense of humour. Modern and hard-working.
Listerine Mouthwash?
Listerine is strong tasting, I know Brand Strategy Creative Brief
that it kills germs and fights
Advertising Strategy Why are we advertising?
gingivitis. I use it occasionally Objective Who are we talking to?
Target and Insights
when I think I need to. What do they currently think?
Benefit What do we want them to think?
What is the one thing we need to tell them?
Support
Brand Positioning Why should they believe us?
Brand Character Brand Character

12. 12
EVALUATING &
DIRECTING The ABCs of Finding
Good Advertising
ADVERTISING
YOUR ROLE IN THE
CREATIVE PROCESS Before the Creative Meeting
The creative process is a “buy/sell” proposition and Keep in mind “the creative guys have just had their
you are buying. Think of it like hiring an interior past 9 creative projects turned down, they were in
decorator for a house you are going to live in. an edit studio all night for another ad, they have
Does that change your thinking in you getting what some really funny stuff that they aren’t sure you are
you need? going to laugh at, and they didn’t sleep well worrying
about what you think of their work”. If you want to
We do not give feedback, we give direction. get their best work on your brand, think about how
Feedback has no action to it and has a “so what” you react, how you engage with them.
quality to it, whereas direction has movement. It
assumes you like something or don’t and it has However you phrase things, and however much you
some thoughts on where you want it to go to make like and dislike things, you have to let them know
it even better. A good agency team will listen and how you feel right away. They want to know! There
react to your direction. is no use hiding it, since it will only come out later
anyway, and then they’ll be even more mad and say
At the creative meeting, I refuse to let the brief be “why didn’t you tell us you didn’t like it”, only then
read. Why? First, your consumer never has access you’ll be further down the Advertising Ladder and
to the brief. I always try to put myself in the shoes need to go back up again!
of the consumer and try to digest the ads as they
would. Second, how do you balance the rational I always say “be careful what you ask for because it
and the emotional if you have just re-read a rational might be crap”, meaning your direction should have
document about the ads you are about to see. If room for them to operate within. If you get too
you were getting your house decorated, would you much into “dictating” then you probably won’t like
walk into the room right away and see what it felt what comes back.
like or would you stand on the front steps with the
decorator ensuring he understands what you and
him talked about 2 weeks ago? “Why do you not
have the brief memorized?”

13. 13
RE-WRITE THE BRIEF
Common knowledge says that an ad should deliver It’s arrogant to think that you can perfect the strat-
against the brief….double check against the brief egy in an ivory tower. If I see good copy, I’d rather
to see that everything is delivered. However, you throw out the brief than throw out the copy.
have to be flexible enough to decide if good copy
changes your brief.

14. 14
ATTENTION How do we get noticed
BRANDING
in a crowd?
COMMUNICATION
STICKINESS
ATTENTION How To Gain Attention
It is crucial that you stand out among the crowd.
Some people think that just by going on air, you’ll be
noticed, but I tend to think about having to EARN
A
themselves or their truth about how they
interact with the brand.
the consumers’ attention—which means my spot 3. Entertain them: Strike the consumer’s
has to work HARD to EARN it. emotional cord - make them laugh, make
them cry, or make them tingle. From the
The 4 simple ways to gain attention are: consumer’s view—they interact with media
1. Be Incongruent: Get noticed by being a to be entertained—so entertain them.
bit off kilter or different from what they are 4.The Evolution of the Art of Being Different:
watching. Avoid being like “wallpaper”--do Movies, TV, and music continues to evolve—
you want to stand out? what was funny 5 years ago, doesn’t work
2. Resonate: Find a way to connect with today. As much as your art has to express
the consumer in the true way that they see your strategy, it needs to reflect the trends
of society to capture their attention.
FIND YOUR
INCONGRUENCE Set Yourself Apart
When Connor was 4 years old and was cold, he turns to me, smiles and says “my ears are
misbehaving…running all right here” He has now engaged with me and he is
over the house, in a bit willing to listen to what I have to say. We have now
of a daze where nothing connected, even in the weirdest way. But then I can
I could say would break begin to talk to him—in an easy way.
through, and he wouldn’t
even listen to me yelling Ads should have something that is visually,
“slow down” or “stop”. emotionally or creatively incongruent to the mind,
I would say something to break through the clutter. Remember people sit
like “Why are your down to watch their favourite TV shows, not your
ears hanging from your ads. Your ads have to run counter to that, in order
bum?” That catches him to stand out

15. 15
RESONATE WITH
YOUR CONSUMER Relevant and Insightful
To connect with your consumer, you have to tap
where their emotional truth laid were they any thing.
something, then Sunlight would follow. Only when they found
For years, Sunlight tried to go head to head with Tide. If Tide did
into the unique insights about your consumer’s
experience with your brand. It’s this truth about
how they feel that makes these ads do a very work-
man like job in grabbing the consumer’s attention.
While these ads can be a bit on the quieter side—
the connection can be very strong. Where some
people go wrong in this area—is that they think it
needs to be “realistic” to really connect. They take
the fun out of it all. Actually, hyperbole is a great
vehicle to show the exaggerated state of how the
consumer feels. It’s the expression of the insight
that makes it connect. These are the “Seinfeld-isms”
that we all feel in our daily life.
If you are doing it right, you’ll hear your consumer
say “that really speaks to me”.
ENTERTAIN
THEM Make them Laugh, Make them Cry…
Involving
Given that all media is the source of entertainment brand—but find a way for the entertainment to act
for consumers, one of the simplest ways to gain as a catalyst for your brand’s message.
their attention is to entertain them. Especially, when
you are trying to appeal to their emotional side— The risk here is the “gag and tag” approach to
whether you are trying to make them laugh, cry or advertising—which you can spot from a mile away.
inspire them. Funny gag that gets you laughing—but then cut to
white screen with the product—add in a change of
For these spots to work, your brand should be woven pace to the music, say the tag line and you’re out.
into the story line of the entertainment. Make sure These spots have a terrible brand link.
that the entertainment does not overshadow your

16. 16
BE DIFFERENT FOR THE SAKE
OF BEING DIFFERENT Ads Need To Evolve
Push Yourself to Set Yourself Apart you should either go left or right, but never in the
middle. Everyone has to have some sort of gig—the
Think of the “fruit fly” experiment. When you put gig becomes the idea to build on. Try to find what
100 fruit flies in a jar, each fruit fly mates at a similar you think is your brands line in the sand, take a step
rate to all the other fruit flies. As soon as you put on the other side of it, and it’s probably not so bad.
in an albino fruit fly, the albino fly mates at twice the
rate, just because it is different then the rest. Ever notice how TV, music and movies continually
evolve creatively. What seemed different or edgy 5
Your advertising needs to have something different years ago is common today. It’s the same thing with
in it just to stand out. Many times people think the advertising: creative devices and techniques come in
safest ground is the middle ground. But many times and out of style.
that ground is where it’s the most risky, because
you end up with no real idea. It’s wallpaper. So
TRACKING How to Know if you are Getting Attention?
The key focus of your tracking would be on Don’t discount the use of brand link here—especially
prompted recall on the specific TV spot plus any since the idea is to gain attention for your brand,
changes in the overall line for claimed recall for the and not just the spot.
brand. Also, for the ad to really connect, you are
going to need to see proven recall of the separate You may also want to look for aided opinion scores
elements of the ad, which shows that they are for enjoyability and uniqueness as indicators for how
internalizing the ad. These elements become part well the ad will do over time.
of your creative assets that can then be used as part
of the branding to set up a longer term relationship
to the branding idea.

17. 17
BRANDING
How To Brand Your Spot
Maximum Brand Involvement
There is an old advertising saying “half of all
advertising is wasted, but we aren’t sure which
B
use, but rather how closely connected the
brand to the climax of your ad.
half ”. The average brand link is 50%…our goal 2. Is it the Truth: It sounds funny, but if there
should always be to get higher. The obvious goal of is a disconnect between what you say, and
advertising is the desire to get people to see your what you are….then the brand link won’t
brand. be there. People will discard the ad.
3. Own the Idea Area: Be a bit different—
The 4 simple ways to brand your spot are: make sure that what you do sets you apart
1. Be Part of the Story: In the spirit of big from anyone else.
ideas, how do you tell a story, using your 4. Repeat: Don’t be afraid of building your
brand. It’s not how much branding you brand—and the simplest way to get branding
is to repeat and repeat and repeat.
BE PART
OF THE STORYHigh Involvement
My pet peeve in advertising is when I hear creatives more branding. A powerful story can capture the
say “and then we cut to the pack shot”. When I hear consumer, and hold them…but also leave them
that, I wonder why people are afraid of the brand? with a little magic…it’s the brand’s life story…and
That’s the “gag and tag” approach where consumers that will make the brand much more memorable.
will think it’s funny and they say they like that ad,
but then “can’t remember what brand it’s for”. The Here is where you need to think about ad structure
way to get involvement is to force your creatives to and architecture. It’s not about “how much
make your brand part of the story. Avoid cutting branding”….but rather how close your branding
away to a white screen. comes to the climax of the ad. You don’t always
need to give the brand away so early…but you
Also, people remember stories, and if that story should try to give it away at a very powerful part
involves the brand, then naturally we would have of the ad
IS IT
THE TRUTH Relevant Consumer Insights
Most people think that all advertising is a lie. Well, So many brands that have trouble, are trying to
only those ads that speak the truth will be successful run in the opposite direction of the truth. Do the
over the long run. If an ad’s message is a disconnect opposite—reach down into brand’s soul and find a
to the experience or truth of the brand, then people way to simply convey the truth. I’ve talked about
will naturally forget what brand it is for and then leveraging assets…even more important is to
discard the message. leverage your brand’s soul. In Listerine’s example,
the brand spent the whole 80s and 90s trying to tell
people it wasn’t that strong—we were running from

18. 18
the truth—when the truth is that it is so strong, it With all the young
could be an action hero. seniors, why couldn’t
“It’s not your fathers Oldsmobile” actually means it Oldsmobile make it…by being your fathers car. But,
is your fathers Oldsmobile. after 20 years of trying to run from the truth, the
OWN THE
brand is dead.
IDEA AREA Set Yourself Apart
Good advertising should differentiate yourself from it’s Delicio) and McCains (It’s not take out) had the
your competitor. But what’s crucial is that while you same strategies and execution.
both can’t own the same strategic area, you also
both can’t own the same executional area either— How many cars have you seen driving around the
or you’ll have total brand confusion. bend of the road—and you can’t figure out which
brand is which. No wonder
For example, Kraft Delicio Pizza (It’s Not Delivery, Volkswagen stands out.
THE “WHY-BECAUSE”
FACTOR Use Your Assets to Set Yourself Apart
In the pursuit of finding something different, carry that everywhere and own it. You may also
everybody must find a “gig” of their own. want to keep layering on various devices as a sense
Something…almost anything…to stand out. This is of being consistent, but also as a start to owning
the start up of a collection of brand assets that you those icons.
can keep building on…to leverage in the future or
across other mediums. On the other hand, there are assets that come along
with the brand—they might be non strategic, but
The best icons are those that all connect back to don’t forget these. The Hathaway patch, the glad
the big idea of your advertising…and those that man in white or the “byyy Mennon” tag line. They
work hard to help express your strategy. If you can are what connects the consumer with the brand.
express your idea in one visual mnemonic, you can Why keep doing? Because they work.
THE BEST WAY TO
HAVE A BRANDING IDEA
IS TO REPEAT ITGood Selling Idea
The original reason why we have brands, instead brand manager or a new creative team that doesn’t
of buying cereal from a big bin is that the brand want to execute that last person’s work. Trust me,
offers a stamp of consistency. What we want to there is enough work and motivation in finding out
do in advertising is make sure we offer that same what’s next as starting again.
consistent experience for the consumer.
The benefits of a high brand link is that it allows us
Too many times, brands bounce around year after to do other things, like get a new message out or
year to a new campaign. Why—because of a new focus your effort on changing behaviour.

19. 19
SURROUNDING
THE CONSUMER
When you come up with a branding idea, it is Case in point—the Eveready Bunny. When the
essential that you use it in everything that you do. bunny was only on TV, the brand link was 50/50
When you see an idea, try to think about whether between Eveready and Duracell. It wasn’t until
that idea can carry across the different mediums someone figured out to put the pink bunny on the
and into the store environment. Look at every packaging that the branding idea became a powerful
opportunity to communicate, as a chance not way to separate the brand from its competition.
only to get your message out there, but as a way
to better connect with the consumer. One more
chance to tighten the idea.
TRACKING How to Know if you are Linking?
The obvious answer is brand link—and you should I also look at “made the brand seem different” as
be aiming into the 60-70% as proof that you have a clue to the longer term success of whether the
something worth sticking behind. However, over idea is worth sticking behind. This is what links the
time you will want to see proven recall moving brand with the main messaging and they should
up, as a sign they are internalizing the idea. This have some match. If it doesn’t do this, then all the
means the idea is resonating as ownable by ad does is drive share of voice—which is fine in the
the brand. short term, but doesn’t drive longer term success
for the brand. The off shoot of this is that the brand
impact rating or purchase intent, which should both
be going up and above the norm.

20. 20
COMMUNICATION What are you selling?
How To Communicate
Communicating is about selling. Keep in mind, it is
not what is said, but what is heard.
The 5 simple ways to communicate are:
C
the truth. Focus on one message…keep
asking yourself “what are we selling?”
3. Powerful Expression: Try to find one key
1. Start a Dialogue: If you can do a good visual that can express what you are selling.
job in connecting with the consumer, the This visual can be leveraged throughout
branding idea can be a catalyst that enables your work.
you to converse with your consumer. 4. Find Your “More Cheese”: Many times
it’s so obvious what people want, but we
2. What are you Selling? You have to keep just can’t see it or articulate it.
it simple—you only have 29 seconds to sell 5. Sell the Solution—not the Problem:
Brands get so wrapped up in demonstrating
the problem, when really it is the solution
START A that we want to buy.
DIALOGUE High Involvement
Just like dating, too many times, creative ideas spend Keep it relevant so they stay involved in what you
all the time breaking through (the one liner) and have to say.
no time spent on holding the conversation (the talk
over dinner). You’ll win over your consumer with a Don’t play mind games where you want them to
“one liner”. guess what you are thinking. I see so many spots
that are so smart, they out think the consumer.
The key to “dialogue” is not in how much you say, Keep it simple and straightforward. I spend a lot of
but rather how interesting the conversation is. effort to make sure it’s a very logical flow, especially
in the structure and architecture of the ad.
WHAT ARE
YOU SELLING? Set Yourself Apart in a Relevant Way
Think like a good Stereo Sales Person at the Keep asking yourself “what are we selling…what are
Future Shop. They can assess a consumers’ needs we selling….what are we selling?” Also, make sure
and mindset and begin to sell the benefits of you drive the brand, not the product—it’s the brand
one stereo over another in 30 seconds…why name that separates you from your competition.
can’t we?
Al Ries challenges every brand to get your brand
If you only have 29 seconds to sell, then all we could down to one word. Volvo is safety. Mercedes is
really hope for is “ONE THING”. You have to push luxury. What is Saturn?
yourself to find that one thing, and be willing to
let go of all the other things. You could be selling SELL SELL SELL!!!
something rational, tangible, emotional, or even
an action.

21. 21
POWERFUL
EXPRESSIONS Say it with the Visuals
Everyone always say they hate demos—ad agencies, be building powerful brand assets that give the
marketers and consumers alike. But those demos consumer a consistent connection point with
are really the “cut-away demos” that feel like a force your brand.
fit into a spot. But, if you re-think that a “demo” is
just a close up visual expressions of what our brand Once you get a visual expression, you can take it
really does, then shouldn’t all our ads be “demos”. anywhere—in print, into the professional office or
into the store. It can be something you continue to
The more that you can find a key visual that can build over time, and layer on related mnemonics to
help to express your strategy and communicate re-enforce its power.
what you are trying to sell, then stick with it.
Build on the consistency of that visual and you’ll
FIND YOUR
“MORE CHEESE”Keep It Simple
When it comes to pizza, it’s pretty damn obvious that “let me sleep like I did before I had kids”. These
people want “more cheese!” But while it’s obvious, simple expressions help match up your brand’s
too many times we get wrapped in so many other assets against the consumers real needs in the
things that are cluttering what’s so obvious. We simplest of terms.
could give them friendlier drivers, recyclable boxes,
win a trip to Tahiti or a 2-for-1 offer….but what is it Watch out for the tendency to out think or out
that is preventing us from seeing the “more cheese” wit your competitors for a positioning that over-
solution. intellectualizes you away from the obvious zone.
Continually reach for your instincts to help simplify
It’s the same thinking that says I want my DQ your problems, down into the most meaningful
Blizzards to be “Thick”, and my cough medicine to way….so you can find your “more cheese”.
SELL THE SOLUTION/
NOT THE PROBLEM Solutions to Relevant Needs
Too many times, we see an over-dramatization on As you structure your ad, make sure the lasting
the problem, so that we can create a need. The impression is one of positive solutions, not negative
classic dramatization of dirt thrown around the problems. Selling the solution sets the tone
carpet to sell the vacuum cleaner. What tends to connected to your ad—optimism!
happen is that the structure of the ad gets slanted
to 75% problem, 25% solution, and the consumer You can still connect the consumer to the problem
gets so distracted by the problem, that they can’t by having it be an integral part of your solution. But
digest the necessary parts of the solution—such as make sure the lasting impression is “what a great
branding, key benefit or the reason to believe. solution” not “what a big problem”.

22. 22
TRACKING How to Know if you are Communicating?
There are two ways to look at communication Efficiency Index (MEI) which is a combined Message
measures: 1) In the short term, are consumers x Brand Link, which is a very true indication of
getting the Main Message. The norm for main what consumers hear connected to your brand. 2)
message is 50%, which to me means that if you are In the longer term, you want to track the Image
in year 2 or 3 of a simple message, you should be in Rating Scores to see if you moving the needle, and
the 60% range. But conversely, if it’s a new thought, separating yourself from the brand. If you don’t see
or one that has an uphill battle, getting in the 35- movement, you might want to go back to made the
45% can be normal, but you should ensure that its brand seem different and that consumers might not
growing over time. Ipsos also provides a Message be internalizing the message.

23. 23
STICKINESS How do you get your idea to stick?
How To Stick
We all want our ads to stick. You need to adopt a
S
3. Telling Stories: While visuals are key
to communicating, in the end people
mindset of “will this idea last for 5 years” remember stories—that’s how we are
brought up—with ideas and morals that are
The 5 simple ways to stick are: designed to stick.
1. Dominant Characteristic: Things that are 4. Always Add A Penny: With each
memorable have something that dominates execution, you have a chance to add
your mind (e.g.: the red head kid) something to the branding idea. Avoid
2. How Big Is the Idea? It’s proven that a duplicating what you’ve done…and try to
gold fish will get bigger with a bigger bowl. stretch as much as you can.
The same for ideas. 5. Know Your Assets: There has to be
something in your ad that sticks—know what
that is and then use it in new executions or
in other parts of the marketing mix.
DOMINANT
CHARACTERISTICS Keep It Simple
In parenting books, they talk dominant feature in our consumers mind and be
about the overwhelming power the catalyst for what we want to stand for.
of dominant characteristics for
your children. These are what
device, but it sticks.....Why do it? Because!
eye patch is totally incongruent to your mind—so it’s a great break through
we naturally use to segment The brilliance of the “Man in the Hathaway shirt” is the simple use of the
kids. (e.g.: the tall one, the quiet
one, the loud one, the smart
one etc. The books talk about
making sure the dominant characteristic is a positive
one. (e.g.: don’t say the fat one, or the dumb one)
It’s the same with anything: I remember watching
American Idol last year, and everyone talked about
the “red head kid”. I swear he got twice the votes he
deserved, just because he had the dominant feature
that stood out from the pack: the “red hair”. Now,
if the red hair was not a positive for what he wanted
to say, then he should dye his hair.
For our advertising, how do find something as
dominant as the “red head kid”. We need to find
something in our advertising that can act as a Find a Dominant Characteristic

24. 24
HOW BIG
IS THE IDEA? Good Selling Idea
If a brand’s job is to create consistent communication are the things you can use in this idea umbrella over
touch points between the brand and the consumer, the next 5 years.
then having an idea big enough to be consistent Can you visualize 5 different spots under
over time, consistent across all mediums, and this idea?
consistent to the brand’s truth, then you have an How would the idea be expressed in
idea big enough. radio, print or other mediums?
Can you take this into stores
As a marketer, while the temptation is to continually or professionals?
re-invent the brand to fit your vision, having a Can you fit new claims or new products
branding idea makes it so much easier. could fit under this idea?
Can you start to see a layering of icons,
When you see an idea, you should be asking what expressions or connections to the idea?
TELLING
STORIES High Involvement
If it’s the visual expression that drives the success Stories also tend to stick a little more, then one off
of ONE ad, then it’s the story telling that drives ads. They are highly involving for the consumer, and
the success of a LONG TERM campaign. We as simple enough for the ideas to resonate.
children are brought up on stories—they provide
early lessons and morals in our lives—so we are
used to digesting information through stories.
ALWAYS
ADD A PENNY Setting Yourself Apart
In a way, a long term campaign should be the brand’s keep building the idea. Each execution is different
biography. With each ad, it tells more and more but the same idea, so that we strengthen the idea
about the brand, while remaining consistent to its and we leave a penny.
truth and its character.
It’s important to think about where you are and
It’s like the “take a penny, leave a penny” jar beside where you are going, and that will help you in what
the cash register. You should always leave a penny part of the brand’s life you are wanting to reveal.
just in case you need a penny one day. Too many To keep the brand fresh, you should try to layer
times, we try to duplicate and steal from the big on consistent touch points and evolve the idea
idea…we call it leveraging the idea, but really we through time.
take a penny. Rather, we should try to find ways to

25. 25
KNOW
YOUR ASSETS Setting Yourself Apart
There are two types of assets that you want to you continue to build through the campaign. These
stay aware of 1) the brand assets, which you can become the heart of the brand’s truth.
look to image scores or main messaging scores in
your tracking and 2) the creative assets, which are For the creative assets, you want to understand
those images, icons or parts of the ads that being what’s breaking through and continue to use those
remembered and internalized. in future executions. This starts to give your brand
a sense of consistency in execution.
For the brand assets, you want to make sure that
TRACKING How to Know if you are Sticking?
With each execution, you want to keep track of The sticky part of the ads are what starts to
proven recall of the ads overall plus the key parts of show up without you asking. You should start to
the ads that are coming through. The scores for the see major impacts on the key indicators, such as
ad as unique and different can be a good indicator changes to image, perception or purchase intent.
as to how well the consumer is starting to digest the You want to show changes year over year, and see
big idea behind your advertising. a consistency of the impact that ads are having on
the business and how tight the connection is to
the consumer.

26. 26
THE
BRAND’S
SWEET SPOT When the ABCs work
in Harmony
THE EPITOME
OF THE BRAND: The Sweet Spot
Gets the Puts Spotlight
Attention on the Brand
When it’s the idea When it’s the idea that
that helps to earn the draws and holds the
consumers attention The Big attention onto the brand
Creative Idea
When it’s the idea that When that idea can be
helps act as the centre used in many ways, to build a
of the brand’s story consistency of brand
experiencwe over time
Communicates Sticks
the Brand’s Story Over time
SAID A
DIFFERENT WAY 7 Things That Good Ads Have
Twisting the ABC’s 5. Be Relevant with the Consumer
1. Set Yourself Apart 6. Make the ads High Involvement
2. Keep It Simple 7. Have it based on a Consumer Insight
3. Have a Good Selling Idea
4. Let the Visuals Do the Talking You will notice these are the subtitles along the way,
for each of the ways to achieve the ABCs.
PERFECT HARMONY:
THE CREATIVE Idea and the Brand Message
My favourite ads are when the creative magnifier task, it makes it easier for the consumer (and more
and the brand’s benefit are perfectly aligned…and fun) to digest, and leaves them with a longer lasting
that story leads to the logical conclusion of the feeling of the brand benefit.
brand itself….it’s like you almost feel the idea erupt
out of the spot Plus, they can make you smile because of the
cleverness behind the effort.
When they work in perfect harmony, to the same

27. 27
WHO’S DOING
IT RIGHT? Companies that are Nailing the ABCS
Tim Horton’s: They do 2 great layers of ads: Volkswagen: While every
1) They do Canadian Patriotism advertising like no other brand is showcasing their
other cars driving around curves on mountain side roads,
2) They show consumers enjoying their products they stand out by being so different.
like no other. Nice stories…no goose bumps, but a
smile at the end. Ikea: They stand out by being different. But even
more so, the beauty of their work is that I don’t
Nike: Speaks to the athlete target for 20 years. Not think anyone could do it.
only do they capture how it feels to be in that target,
they celebrate it.

28. 28
BALANCED
NEEDS: ABCs Finding the Compromise for Your Strategy
While getting all 4 aligned is ideal, I have found it Some Examples
useful to go into a given stage of advertising, with a
focus on 2 of the 4 that you need to nail. You should • ABcs: the start of a new brand building
try to fit it to your brand strategy and identify what idea or where you have nothing really new
you need to be amazing, and what you would be to say (building share of voice)
willing to live with.
• abCS: established idea already, and you
For example, if it’s a new campaign you might want are trying to layer in messaging and help to
the advertising more focused on A and B and solidify the idea..
look to build c and d through future executions.
Conversely, if you have an established idea branding • aBCs: trying to associate a unique and
device, the focus would be on C and S, relying on ownable message to your brand.
the previous icons to do the work of a and b.
• aBcS: where you are fighting for share of
The other thing to consider is how the use of a voice in a low message category (e.g. Beer)
secondary medium could cover off where you but you want a heavy branding message
might be weak. Print is great for going deeper on and want something to stick.
Communication. OOH can really drive home the
Attention by surrounding the consumer with the • AbcS: you have a great branding idea for
idea. In store can really drive link by having the idea years, and all you want to do is get attention
closely connected to the purchase timing. Lastly, the for it.
stickiness will be driven deeper by having various
articulations of the idea—whereby a multi-media
campaign becomes crucial.
MY OWN BIAS TO
BRAND LINK Half of all Ads Are Wasted—Which Half?
While it’s easy to appreciate the need for grabbing Everyone has their own bias. A lot of creatives go
attention, communicating a message and sticking, my straight for attention seeking….technical marketers
own bias is towards brand link. Especially in the will focus on how well the message breaks through…
lower involvement categories we play in, having the but for me, if they can’t remember what brand it’s
brand stand on a pedestal within the ad is crucial. for, then what’s the use.
With $2-3MM of media, we don’t have enough
weight to do a slow build, we don’t have enough The work I have done shows my bias towards brand
sexiness inherent in our brands to jump out from link with high brand link ratios in the 70%’s, 80%’s
the crowd which leaves us little room for subtleties and even up to 94%.
about our brand.

29. 29
ON THE
HOT SEAT Now, it’s YOUR Ad!!!
GIVING
FEEDBACK It’s not Feedback-it’s Direction
Three Questions You Should Be Asking Yourself us get our story straight—so we give one piece of
feedback to the agency 2) it slows down the process
Do you love it? If you don’t love it, how do you so we can think things through—I’ve been doing it
expect your consumer to love it? A great ad has 10 years now, and still don’t feel competent to do
to have everyone’s heart and soul put into it. If you it right away 3) we get to consolidate our thinking,
“sorta like” it, then it will be “sorta ok” in the end. hear thoughts around the room…and either include
(The Heart) or discard them pre giving feedback.
Is it on strategy? Is the Advertisement an Focus on What you Like? Let the idea you love be
expression of what you have been writing in your the dominant discussion point. In case they aren’t
strategy documents? I love the ABCS technique picking up your signals, this forces their hand…by
because it helps me to frame things in my mind, so having it be the dominant point of discussion. The
I can evaluate it past how I feel. I think you need agency will inevitably bring up the ones you don’t
something to ground yourself. (The Head) like—which allows you to make sure they know you
don’t like them.
Is it long term Idea? Is a big enough idea that fits
with the brand, does the hard work you want to “We are not there yet”: There will be times when
do for the brand and can last 5 years. Think about you don’t like where you are. I like this phrasing
leaving a legacy—which forces you to think of because it’s the nicest way possible to say “start
campaign-ability. (The Brand) over”. You can even use it when you love a spot,
but need to make changes to it.
Remember to Smile: I always find the room so
serious, that we forget to laugh, we forget to even Find Something: No matter how well prepared we
smile. Try cutting the tension in the room by smiling are, or how well aligned we are with the agency, I
as they read their scripts. It helps to motivate a have still found moments where there is relatively
nervous creative team. nothing that I like. This is the hardest time for a
client. I struggle with the idea of picking the “tallest
Always Ask the Agency Their Opinion: You might of the midgets”, because I know 6 months later I’ll
not agree but at least now you know the starting regret it. So, what I’ve done now is I try to find
point you are working with. something within one of the spots—even if it is not
strategic…even if it’s not something we might go
Either Give Feedback Right away or Break for 15 with, and I try to start a discussion on what I like
min: I like the break for a few reasons: 1) it helps about that part of the ad.

30. 30
Use “dream like” language: When giving feedback, it, then let them know, and why. It will frustrate
find a communication stream that gets away you, that they keep bringing it up again….and it
from business talk. Reach for analogies, visions, or will frustrate them, that you didn’t tell them and
descriptors that aren’t strategic words. they now wasted so many hours working on it. I
have a 2 step process for rejecting ideas: 1) I’m
Let the Agency Keep Working their favourite: I have not big on that idea…which then prompts them
found 2 things about allowing the agency to keep to defend it with an explanation and then 2) Given
working their favourite option or a new path. 1) that explanation, now that I know that, I don’t like it
you might like it when they are done—which means even more. It’s usually dead after that.
it’s a good idea to let them try or 2) you might
NOT like it when they are done—which means it’s The “Day After” Feedback: Time to Get Fussy: At
a good idea to let them know that it’s them taking the first presentation, you’ll likely react to the big
the chance. idea. I always take some time after round 1, and
then think about structure and logic. At that point,
BUT, if you Hate an Idea---KILL IT: if you leave an I get fussy about the fussiest of details—including
idea area alive too long, and you really do hate challenging the copy points or the smaller details.
YOUR ROLE IN THE
CREATIVE PROCESS Some things to think After It’s a Go
When you “sell” in a board up to management, be the guinea pig for him stretching his reel. Does
it’s important that everyone in management feels the tone fit with yours? Have they done this style?
part of the process. I will always find something for How well does he work with talent? Have they
management to recommend so they feel part of worked with him before?
this ad—no matter how small it is.
When you go to pre-production, I tend to think in
But remember if you have sold it in, you have to terms 1) does the story follow the logic of the ad?
remember to bring it back as you discussed, even if 2) do the timings feel balanced? 3) are there too
it’s a starting point for moving them from it if you many shots, mostly the back and forth can hurt the
end up liking a new direction. But be careful, if you eye of the consumer? 4) where is my product?
don’t bring back what you said you’d bring back,
watch out. Your role at the shoot is three fold: 1) get enough
shots so you can work the edit—you can always
Casting: Guess what, Simon Cowell is right, good “shoot it both ways” 2) make sure your brand is
looking people sell more product! Same with “nice” well represented—get enough shots of it, so you
friendly people. Creatives many times lean towards can work it later 3) make sure the tone of the spot
edgy, realistic people, so that it doesn’t feel like an feels right—there is a tendency to go dark. Try to
ad. Guess what, it is an ad! memorize or write down which take you like the
best, because you may need to find it later in the
When you pick a director, I simply look at has he edit studio.
done this style of ad before? You don’t want to

31. 31
In the edit, you want to first see what you bought to manage the gestalt of it all. Always think about
(aka, what you sold in). “Lets see the story board fit and flow.
first”. That forces the creative team to own up to
what they sold in. For me, I find most editors are At each stage, I take it home with me and watch it
sometimes more experienced then the creative 20-30 times, to make sure I get every detail. You will
team, so find subtle ways to speak to the editor hate yourself if you let something small go and then
directly. The editors likely do 100 spots a year, so see it on the air over and over.
they know how to communicate effectively in a
short space. If you like everything that is happening, After you go on air, take 30-90 days to figure out
the edit is now a good time to focus on logic—so what you would have done differently. Cognitive
you can get the flow of the ad. dissonance says you’ll talk yourself into loving every
component. But you won’t learn if you let cognitive
Through the edit process, you are going to see dissonance get in the way. At the same time, do up
sound, music, visual edits, etc and each expert a “where are we page” and you might be surprised
feels the need to “add” their part. You have where you went and what you can now do.
ART VS
EXPRESSION It has to work for you
A lot of people tend to think that advertising is With a thought towards expression, you may find
half art, half science. I tend to think of it as 100% yourself choosing a version or direction that works
expressions of your strategy. Art tends to just sit harder for your brand’s goals…rather than one you
there. Expressions do something. “just kinda like it better”.
You want a few things in that expression of strategy: Keep asking yourself “why am I doing this…
you need the ads to do the work that your strategy what do I want out of it…” and the answers
calls out for, and you need the ads to be reflective of should be the frame for your expressions!!!
what the brand stands for—whether it’s messaging, Go back to your strategy if you have and make sure
positioning, character or tone. everything fits.
WHAT IS IT THAT
MAKES SOMEONE Good At Making Ads?
Simply put, it is someone who can consistently get This means, despite all obstacles—and there are
good advertising on the air. many—you can get the agency to make a good ad
and you can get it on the air.

32. 32
THE OBSTACLES
TO WATCH OUT FOR
Agency sells you a brief you don’t like. You can’t doing what I need it to do…will I love it 5 years
let this happen. You should be debating the overall from now.
idea and every word, until you are satisfied. It’s your
brief! It has to reflect your strategy. You can’t sell it in to management: you need to
make sure if it’s the right thing to do, you are able
Creative team over sells you: you get hood-winked to sell the idea in. Tell them how it works for your
with “we are so excited”: it’s either a boring idea brand—and how it delivers the strategy.
that was suppose to be for another brand last week,
has no brand connection at all, it is off your strategy You lose traction through the filming, or the edit:
or is a one-off to win an award. Go back to your cool director intimidates you, we don’t have time to
ABCS and figure out if it is worth it. I still do—to do that, or trust me, we’ll get the brand in later. You
ground myself. have to stay true to what you want, the whole way.
Get the ad that you bought!
You settle for something you hate, because of
time, or you don’t know why. Reach in your Not a good match for your emotions: watch out
gut and keep asking yourself, do I love it, is it for the tone—it can quickly turn your ad into a
dark melodrama. The watch outs here are music,
casting, and lighting—it’s amazing the impact these
FINAL can have.
THOUGHTS How to Make Great Ads
You need to nail the up front thinking. Be exhaustive It’s always riskier to do nothing or pick the middle
in searching for your brand’s truth, be fussy to every of the road. You won’t stand out. Challenge
word, and be prepared with your strategy. Ask yourself with the Actuary Rule: why did you
yourself every day, what am I trying to do? choose marketing—to make great inspiring work—
otherwise, you should have become an actuary, and
You need some method to evaluate advertising. lived longer.
Likes and Dislikes are too basic to get good ads all
the time. Try the power of the ABCS: The consumer doesn’t have as many concerns
about your brand as you might. You could have
• Gain their Attention a misperception of your brand….based on
• Be about the Brand internal thinking.
• Have the Communication be the key
story line Do you love it? I have to love it to put it on air.
• Stick in their minds.
The mom rule: Phone your mom, explain the
ad. If she gets it—good. If not, yikes. It keeps
things simple.